opses 


6  OPERA  SYNOPSES 

shadowy  vault,  resigning  himself  to  death. 
Aida  now  steals  to  his  side.  She  has  come 
to  die  with  him.  They  sing  together  a  last 
farewell  to  life  and  love,  and  perish  in  each 
other's  arms;  while  above  them  the  peni- 
tent princess  kneels  in  prayer. 


ARMIDE 


Romantic  Opera  in  Five  Acts.  Music  by  Christo- 
pher W.  Gluck.  Book  by  Quinault,  founded 
upon  Tasso'8  "Jerusalem  Delivered"  First  pro- 
duced at  the  Academic  Royale  de  Musique,  Paris, 
September  23,  1777. 

SCENE:    Damascus  and  Environs. 
TIME:    The  First  Crusade,  1098  A.  D. 


CAST 

ARMIDE,  a  sorceress  (Soprano). 
PHENICE,  her  friend  (Soprano). 
SIDONIE,  her  friend  (Soprano). 
HIDROAT,  King  of  Damascus  (Baritone). 
ARONT,  his  chief  of  staff  (Basso). 
RINALDO,  Commander  of  Crusaders  (Tenor) 
ARTEMIDOR,  a  Crusader  (Tenor). 
UBALDO,  a  Knight  (Baritone). 
A  DANISH  KNIGHT  (Tenor). 

Demons,  Naiads,  Knights,  Courtiers, 
Servants,  etc. 


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OPERA    SYNOPSES 

A  GUIDE  TO  THE  PLOTS  AND  CHARAC- 
TERS OF  THE  STANDARD  OPERAS 


BY 
J.  WALKER   McSPADDEN 

AUTHOR   OP   "SHAKESPERIAN   SYNOPSES,"   ETC. 


NEW  YORK 

THOMAS  Y.  CROWELL  COMPANY 
PUBLISHERS 


COPYRIGHT,  1911, 

Br  THOMAS  Y.  CROWELL  COMPANY. 
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Stack 
Annex 


PREFACE 

THE  fourth  volume  of  the  present  series 
of  "Synopses"  is  devoted,  as  its  title  indi- 
cates, to  standard  operas.  The  preceding 
three,  dealing  respectively  with  Shake- 
speare, Dickens,  and  Scott,  have  appar- 
ently met  a  popular  need,  and  readers  have 
asked  from  time  to  time  for  a  similar  work 
presenting  the  casts  and  plots  of  the  best- 
known  operas.  This  volume  is  an  answer 
to  their  request,  and  is  issued  with  the  aim 
of  making  it  as  serviceable  as  possible  both 
to  opera-goers  and  to  that  still  larger  class 
outside  the  great  cities,  who  wish  to  be 
readily  conversant  with  all  such  works. 

Indeed,  a  knowledge  of  the  standard 
operas  is  as  essential  nowadays  as  a  knowl- 
edge of  the  classics  of  literature.  Each 
sheds  its  influence  upon  the  other,  and  the 
line  is  continually  being  crossed  between 
the  adjacent  fields.  Plays  of  Shakespeare, 
like  "  Othello  "  and  "  Merry  Wives  ";  novels 
like  Scott's  "Bride  of  Lammermoor";  and 
the  latest  Broadway  success,  all  reappear 
in  musical  setting.  The  general  reader, 


2013893 


iv  PREFACE 

therefore,  whether  he  frequents  the  opera, 
or  not,  cannot  overlook  this  phase  of 
artistic  expression. 

"Opera  Synopses"  will  be  found  to  in- 
clude a  careful  selection  of  the  "grand," 
"romantic,"  and  "light"  operas.  It  is  not 
all-inclusive,  as  a  list  anywhere  near  com- 
plete would  require  a  book  four  or  five 
times  the  present  dimensions.  But  it  does 
endeavor  to  include  all  the  operas  actively 
in  the  repertoire  of  the  producing  managers 
within  the  last  few  years,  and  those  which 
are  most  frequently  cited  and  consulted. 

For  ease  of  reference,  titles  are  given  in 
alphabetical  order,  rather  than  by  authors. 
For  the  same  reason,  preference  has  been 
given  to  the  English  title,  except  in  such 
instances  (for  example,  "II  Trovatore") 
where  the  opera  is  best  kno^vn  under  its 
foreign  title. 

J.  W.   M. 

MONTCLAIR,   N.  J. 

June  1, 1911. 


CONTENTS 

PAGE! 

Aida 1 

Armide 7 

Barber  of  Seville,  The 13 

Bartered  Bride,  The • 17 

Boheme,  La 21 

Bohemian  Girl,  The .  .  ; 27 

Carmen 33 

Cavalleria  Rusticana 39 

Chimes  of  Normandy,  The 43 

Damnation  of  Faust,  The 47 

Don  Giovanni 51 

Don  Pasquale 57 

Elektra 61 

Ernani 65 

Falstaff 71 

Faust 77 

Favorita,  La 83 

Fidelio 89 

Flying  Dutchman,  The 93 

Fra  Diavolo 99 

Freischutz,  Der 103 

Germania 107 

Gioconda,  La Ill 

Girl  of  the  Golden  West,  The 115 

Gotterdammerung  (See  Nibelungen  Ring) 

Hansel  and  Gretel 121 

Herodias 125 

Huguenots,  The 131 

Juggler  of  Notre  Dame,  The 137 

Koenigskinder 141 

Lohengrin 147 

Louise 153 

Lucia  di  Lammermoor 159 

v 


vi  CONTENTS 


FAGB 

Madam  Butterfly 163 

Magic  Flute,  The 169 

Manon 175 

Marriage  of  Figaro,  The 179 

Martha 185 

Meistersinger,  Die 191 

Mikado,  The 197 

Mona 201 

Natoma 205 

Nibelungen  Ring,  The 

Rheingold,  Das 211 

Walkure,  Die 217 

Siegfried 223 

Gotterdammerung 227 

Norma 233 

Orpheus  and  Eurydice 237 

Othello 241 

Pagliacci,  1 247 

Parsifal 251 

Pelle"as  and  Melisande 257 

Rheingold,  Das  (See  Nibelungen  Ring) 

Rigoletto 263 

Romeo  and  Juliet 269 

Sacrifice,  The 275 

Salome 279 

Samson  and  Delilah 283 

Siegfried  (See  Nibelungen  Ring) 

Tales  of  Hoffmann,  The 289 

Tannhauser 295 

Thais 301 

Tosca,  La 309 

Traviata,  La 315 

Tristan  and  Isolda 321 

Trovatore,  II 327 

Walkure,  Die  (See  Nibelungen  Ring) 

William  Tell ,., 333 


AIDA 

Romantic  Opera  in  Four  Acts.  Music  by  Giuseppe 
Verdi.  Book  by  Antonio  Ghislanzoni.  Written 
for  the  Khedive  of  Egypt,  and  first  produced  at 
Cairo,  December  24,  1871. 

SCENE:    Memphis  and  Thebes. 
TIME:   Rule  of  the  Pharaohs. 


CAST 

THE  KINO  OF  EGYPT  (Basso). 
AMNERIS,  his  daughter  (Contralto). 
RHADAMES,  a  General  (Tenor). 
RAMFIS,  the  High  Priest  (Basso). 
AMONASRO,  the  King  of  Ethiopia  (Baritone). 
AIDA,  his  Daughter,  a  Slave  (Soprano). 

Soldiers,  Courtiers,  Citizens,  Tire-women, 
Dancers,  etc. 


ARGUMENT 

Aida  (pronounced  "  Ah-ee-dah  ")  is  one  of 
Verdi's  most  brilliant  operas,  and  has  re- 
mained continuously  in  favor  with  the  pub- 
lic. The  story,  which  is  full  of  color,  has  an 
ancient  Egyptian  setting,  being  a  romance 
woven  around  a  beautiful  slave  girl,  who 
later  proves  to  be  the  daughter  of  a  rival 
king. 

ACT  I 

Scene  1.  Interior  of  the  Egyptian  King's 
Palace,  at  Memphis.  The  High  Priest, 
Ramfis,  delights  the  warrior  Rhadames,  by 
informing  him  that  Isis,  the  goddess,  has 
decreed  that  he  shall  lead  the  army  against 
the  warring  Ethiopians.  Rhadames  is 
madly  in  love  with  Aida,  the  slave,  and 
sees  in  this  prospective  victory  an  oppor- 
tunity to  obtain  her  from  the  King  as  his 
bride.  But  Amneris,  the  King's  daughter, 
who  now  enters,  has  long  loved  the  young 
soldier.  As  he  is  cold  to  her,  she  begins 
to  suspect  the  truth,  and  she  jealously 
watches  Rhadames  and  Aida,  when  the 
2 


A I  DA  3 

slave  appears.  The  King  and  his  court 
enter,  and  Rhadames  is  formally  invested 
with  the  command  against  the  Ethiopians, 
who  have  advanced  upon  Thebes.  All 
rejoice  except  Aida,  who  knows  secretly 
that  her  lover  is  to  meet  her  father,  the 
rival  king,  in  battle. 

Scene  2.  The  Temple  of  Ptah.  Ptah  is 
the  War-god  of  Egypt,  and  this  short  scene 
is  occupied  with  the  consecration  of  the 
arms  of  Rhadames. 

ACT  II 

Scene  1.  The  Apartments  of  Amneris. 
The  princess  has  heard  that  Rhadames 
is  returning  victorious  from  war,  and, 
desirous  of  winning  him  by  her  charms,  she 
orders  her  women  to  deck  her  in  her  finest. 
Aida  enters,  and  Amneris  tricks  her  into 
revealing  her  love  for  the  General  by  falsely 
announcing  that  he  has  fallen  in  battle. 
When  Aida's  grief  betrays  her  secret,  Am- 
neris scorns  her. 

Scene  2.  The  Entrance  to  Thebes.  Pha- 
raoh summons  his  whole  glittering  court  to 
do  honor  to  his  conquering  General.  The 
troops  enter  in  formal  review,  and  Rha- 


OPERA  SYNOPSES 


dames  is  borne  in,  in  triumph,  on  the  shoul- 
ders of  slaves.  The  princess  crowns  him, 
and  the  King  asks  him  to  name  his  own 
reward.  The  captives  of  war  are  brought 
forward,  and  the  populace  demand  that 
they  be  put  to  death.  Aida  recognizes  the 
conquered  King  as  her  father,  but  he  con- 
ceals his  true  rank.  Rhadames  now  asks  as 
his  boon,  that  the  lives  of  the  captives  may 
be  spared.  The  King  grants  his  request, 
and  in  addition  bestows  his  daughter's  hand 
upon  him  and  proclaims  him  heir  to  the 
throne. 

ACT  III 

A  Night  Scene  on  the  Nile.  Amneris, 
accompanied  by  the  High  Priest,  goes  to 
pay  her  vows  to  Isis,  on  the  evening  before 
her  marriage.  Aida  follows  secretly,  to 
meet  Rhadames  for  the  last  time.  Her 
father  finds  her  there  and  urges  her  to  be- 
tray to  him  the  movement  of  the  Egyptian 
army,  but  she  will  not  do  so.  Amonasro 
hides,  on  the  approach  of  Rhadames,  and 
from  the  latter's  conversation  with  Aida 
learns  that  which  he  wishes  to  know.  The 
captive  King  now  plays  a  bold  stroke  by 
presenting  himself  to  Rhadames  in  his  true 


AIDA  5 

rank,  and  urging  him  to  take  sides  with 
Ethiopia.  Aida's  hand  is  pledged  by  way 
of  reward.  Rhadames  will  not  yield  to  the 
temptation,  and  while  they  parley  Amneris 
comes  from  the  Temple  to  denounce  them. 
Rhadames  urges  the  father  and  daughter 
to  flee,  but  himself  remains  to  submit  to  the 
guards  of  Ramfis. 

ACT  IV 

Scene  1.  Corridor  in  the  Palace.  Am- 
neris has  repented  her  action  against  Rha- 
dames, and  now  seeks  to  save  him.  She 
tells  him  that  Aida's  father  was  killed  in 
the  flight,  but  that  Aida  herself  still  lives. 
If  Rhadames  will  renounce  her,  Amneris 
says  that  she  will  obtain  the  pardon  of 
Pharaoh.  Rhadames  refuses,  and  the  en- 
raged princess  tells  him  to  go  to  his  doom. 
But  when  the  tribunal  of  priests  decree  that 
the  soldier  shall  be  entombed  alive,  as  the 
penalty  for  his  supposed  treason,  Amneris 
turns  upon  them  in  redoubled  fury. 

Scene  2.  Interior  of  the  Temple,  show- 
ing the  crypt  below.  While  the  priests  and 
priestesses  perform  the  ceremonial  temple 
service  above,  Rhadames  is  seen  in  the 


OPERA  SYNOPSES 


shadowy  vault,  resigning  himself  to  death. 
Aida  now  steals  to  his  side.  She  has  come 
to  die  with  him.  They  sing  together  a  last 
farewell  to  life  and  love,  and  perish  in  each 
other's  arms;  while  above  them  the  peni- 
tent princess  kneels  in  prayer. 


ARMIDE 

Romantic  Opera  in  Five  Acts.  Music  by  Christo- 
pher W.  Gluck.  Book  by  Quinault,  founded 
upon  Tasso's  "Jerusalem  Delivered"  First  pro- 
duced at  the  Academic  Royale  de  Musique,  Paris, 
September  23,  1777. 

SCENE  :    Damascus  and  Environs. 
TIME:    The  First  Crusade,  1098  A.  D. 


CAST 

ARMIDE,  a  sorceress  (Soprano). 
PHENICE,  her  friend  (Soprano). 
SIDONIE,  her  friend  (Soprano). 
HIDROAT,  King  of  Damascus  (Baritone). 
ARONT,  his  chief  of  staff  (Basso). 
RINALDO,  Commander  of  Crusaders  (Tenor) 
ARTEMIDOR,  a  Crusader  (Tenor). 
UBALDO,  a  Knight  (Baritone). 
A  DANISH  KNIGHT  (Tenor). 

Demons,  Naiads,  Knights,  Courtiers, 
Servants,  etc. 


ARGUMENT 

"Armide"  is  a  legendary  episode  con- 
nected with  the  Crusade  under  Godfrey  of 
Bouillon.  His  chief  officer  falls  under  the 
power  of  a  beautiful  sorceress.  The  opera, 
recently  revived,  is  one  of  the  oldest  now 
in  repertoire  and  is  considered  to  be 
Gliick's  masterpiece. 

ACT  I 

The  Palace  of  Armide.  The  Princess 
Armide  is  famed  both  for  her  beauty  and 
her  powers  of  magic.  She  has  remained 
unwed  although  Hidroat,  the  King,  is 
desirous  for  her  to  choose  a  husband.  But 
she  cannot  free  her  mind  from  the  thought 
of  Rinaldo,  the  victorious  Crusader.  At 
every  new  word  of  his  conquests  her  heart 
is  torn  by  hatred  of  him  as  an  enemy  of 
her  country,  and  love  of  him  as  a  hero. 
Tidings  are  received  that  the  Saracen  host 
is  at  last  victor  in  a  battle,  but  this  is  dis- 
proved by  a  later  messenger  and  the  ar- 
rival of  Aront's  army  which  has  again 
8 


ARMIDE  9 

suffered    defeat.      All    swear    vengeance 
against  the  Christian  army. 

ACT  II 

An  Enchanted  Garden.  Rinaldo,  the 
Crusader,  while  wandering  in  the  desert, 
suddenly  finds  himself  in  an  enchanted 
garden,  conjured  up  by  the  wiles  of 
Armide.  Naiads  rise  up  before  him  and 
sing  him  to  sleep.  While  reclining  under 
a  bower  of  roses,  insensible,  the  sorceress 
advances  toward  him  with  drawn  dagger. 
At  last  she  has  her  country's  enemy 
within  her  power.  But  the  sight  of  the 
man  of  her  dreams  once  more  kindles  love 
in  her  heart;  the  sorceress  is  lost  in  the 
woman,  and  she  clasps  him  in  her  arms. 

ACT  III 

The  Palace  of  Armide.  Again  in  her 
palace,  Armide  is  torn  among  the  mingled 
feelings  of  love,  hate,  pride,  and  remorse. 
Instead  of  striking  her  enemy  she  has 
yielded  to  him.  She  summons  before  her 
the  Demon  of  Hate,  who  warns  her  that 
for  this  indecision  Rinaldo  will  yet  escape 


10  OPERA  SYNOPSES 

her.  Instead  of  nerving  her  fury,  this  only 
redoubles  her  love,  and  the  Demon  in 
anger  disappears. 

ACT  IV 

The  Enchanted  Garden.  Rinaldo  has 
continued  under  the  power  of  the  sorceress. 
The  Crusaders,  alarmed  by  his  absence, 
send  Ubaldo  and  a  Danish  knight  in 
search  of  him.  At  their  approach  Armide 
bars  their  path,  but  is  compelled  to  fall 
back  powerless  before  a  consecrated  sceptre 
borne  by  Ubaldo.  Other  visions  appear 
at  Armide's  command  but  are  dissipated 
by  the  sceptre. 

ACT  V 

The  Palace  (sometimes  combined  with 
the  Garden  scene).  Armide  conveys  her 
lover  to  the  palace  and  seeks  to  entertain 
him  by  ballets  and  tableaux.  He  forgets 
his  past  life  while  subject  to  her  wiles. 
She  leaves  the  room  for  an  interval,  and 
Ubaldo  and  the  Danish  knight  enter, 
carrying  the  sceptre  and  a  highly-polished 
shield  which  when  held  up  before  Rinaldo 


ARMIDE  11 

reveals  to  him  the  warrior  he  formerly  was. 
Roused  to  action  by  this  vision,  he  grasps 
his  sword  just  as  Armide  returns.  She 
implores  him  to  remain  with  her.  When 
he  refuses  and  departs  with  the  Crusaders 
she  sets  fire  to  her  palace  and  perishes  in 
the  flames. 


(II  Barbiere  di  Siviglia).  Comic  Opera  in  Two 
Acts.  Music  by  Gioacchini  A.  Rossini.  Book  by 
Sterbini,  founded  on  a  comedy  by  Beaumarchais. 
First  produced  at  the  Argentina  Theatre,  Rome, 
February  5,  1816. 

SCENE  :    Seville. 

TIME:    The  17th  Century. 


CAST 

COUNT  ALMAVIVA  (Tenor). 
FIGARO,  the  barber  of  Seville  (Baritone). 
DOCTOR  BARTOLO,  a  physician  (Basso). 
BASILIC,  a  music  teacher  (Basso). 
ROSINA,  a  ward  of  Barlolo  (Soprano). 
BERTHA,  a  duenna  (Contralto). 
FIORELLO,  the  Count's  servant  (Baritone). 
AMBROSIO,  the  doctor's  servant. 

Musicians,  Citizens,  Guards,  etc. 


13 


ARGUMENT 

"  The  Barber  of  Seville  "  is  a  light  opera 
of  more  than  usual  interest.  It  was  written 
by  Rossini  at  top  speed  in  less  than  three 
weeks,  but  is  the  only  one  of  his  works 
which  has  persisted  continuously  in  reper- 
tory. While  it  has  not  the  grandeur  of  his 
"William  Tell"  it  is  a  little  masterpiece  of 
its  kind. 

ACT  I 

Scene  1.  A  street  in  Seville.  Count 
Almaviva,  who  has  fallen  in  love  with 
Rosina,  the  ward  of  Dr.  Bartolo,  goes  to 
sing  a  serenade  beneath  her  balcony.  While 
there  Figaro  the  town  barber,  a  droll  self- 
important  fellow,  comes  along  and  the 
Count  prevails  upon  him  to  aid  in  this  ad- 
venture. At  this  moment  Rosina  emerges 
upon  the  balcony  and  gives  the  Count  to 
understand  that  his  attentions  are  wel- 
come, but  that  her  guardian  is  a  jealous 
tyrant  who  is  trying  to  seize  her  property. 
When  she  disappears  the  barber  suggests 
that  the  Count  disguise  himself  as  a 
14 


THE  BARBER  OF  SEVILLE  15 

drunken   soldier  and  thus  gain  entrance 
into  the  house. 

Scene  2.  A  Room  in  Bartolo's  House. 
While  Rosina  is  grumbling  at  her  imprison- 
ment and  promising  herself  to  lead  her 
guardian  a  merry  dance,  Bartolo  enters. 
He  himself  wishes  to  marry  his  ward,  and 
invokes  the  aid  of  Basilio,  the  music- 
teacher.  While  the  two  men  go  to  draw  up 
a  contract,  Figaro  enters  and  Rosina  entrusts 
him  with  a  letter  to  Lindoro  (which  she 
supposes  to  be  the  Count's  name).  The 
doctor  returns  and  accuses  her  of  writing 
letters.  At  this  point  the  Count  staggers 
in  disguised  as  a  drunken  soldier.  An 
amusing  series  of  incidents  follow  among 
all  the  principals  including  the  wily  barber. 
An  officer  enters  and  arrests  the  Count  for 
disorderly  conduct  but  on  privately  learn- 
ing his  true  rank  releases  him  and  arrests 
the  doctor  instead. 

ACT  II 

Music  Room  in  Bartolo's  House.  Count 
Almaviva  returns  to  the  doctor's  home,  this 
time  disguised  as  a  music-master,  sent  in 
place,  of  Basilio  who  is  supposed  to  be  sick. 


16  OPERA  SYNOPSES 

Bartolo  views  him  with  suspicion  and,  to 
prevent  his  being  alone  with  Rosina,  orders 
Figaro  to  shave  him  (Bartolo)  in  the  same 
room.  Rosina  enters  and  the  strange  com- 
bination proceeds  amusingly.  At  this 
juncture  Basilio  appears  but  is  bribed  to 
pretend  that  he  is  really  ill.  During  the 
music  lesson  the  two  lovers  arrange  to  elope 
at  midnight,  being  aided  by  the  tricks  of 
the  barber.  But  Bartolo  finally  suspects 
a  plot  and  rushes  out  to  complete  the  mar- 
riage contract  in  favor  of  himself.  The 
others  also  hasten  away,  and  a  violent 
thunderstorm  breaks.  At  its  conclusion 
Basilio  brings  the  notary  with  the  marriage 
contract,  but  the  Count  and  Figaro  inter- 
cept them  and  have  the  document  changed 
in  the  Count's  favor.  The  two  lovers  are 
united  and  the  wrath  of  Bartolo  is  appeased 
by  a  present  of  Rosina's  coveted  property. 


THE  BARTERED  BRIDE 


(Die  Verkaufte  Braut).  A  Light  Opera  in  Three 
Acts.  Music  by  Friedrich  Smetana.  Book  by 
K.  Sabina.  First  produced  at  Prague,  in  1866. 

SCENE:    A  Bohemian  Town. 
TIME:    The  Present. 


CAST 

KRUSCHINA,  a  peasant  (Baritone). 
KATINKA,  his  wife  (Soprano). 
MARIA,  their  daughter  (Soprano). 
MICHA,  a  landowner  (Basso). 
AGNES,  his  wife  (Contralto). 
WENZEL,  their  son  (Tenor). 
HANS,  son  of  Micha  by  a  former  marriage 

(Tenor). 

KEZUL,  a  marriage  broker  (Basso). 
SPRINGER,  a  theatrical  manager  (Tenor). 
ESMERALDA,  a  dancer. 
MUFF,  a  comedian. 

Villagers,  Players. 


17 


ARGUMENT 

"The  Bartered  Bride"  is  a  village  idyll 
which  depicts  Bohemian  customs  and  life 
with  simplicity  yet  with  dramatic  force. 

ACT  I 

Village  square  and  Inn.  A  spring  festival 
is  being  celebrated  and  all  is  joyous.  Every 
heart  is  merry  save  only  that  of  Maria,  the 
daughter  of  Kruschina,  a  well-to-do  peas- 
ant, for  on  this  day  a  suitor  chosen  by  her 
parents  and  unknown  to  her  is  to  claim  her 
hand.  She  loves  Hans,  who  is  poor  and 
unknown.  Her  parents  now  enter  with 
Kezul,  the  village  marriage-broker,  who  has 
arranged  the  match  with  Wenzel,  son  of  the 
rich  farmer  Micha.  When  they  tell  Maria 
of  the  match  she  objects,  and  Kezul  learns 
that  it  is  on  account  of  Hans. 

ACT  II 

A   Room  at  the  Inn.    To   further   the 
marriage,  Wenzel,  the  awkward  stammer- 
ing bride-groom-to-be  is  brought  face  to 
18. 


THE  BARTERED  BRIDE  19 

face  with  Maria  but  does  not  know  who  she 
is.  She  worms  his  secret  from  him  and  per- 
suades him  to  look  elsewhere  for  a  sweet- 
heart. Meanwhile  Kezul  has  been  working 
upon  Hans  and  finally  prevails  upon  him  to 
forego  all  claim  upon  Maria,  "in  favor  of 
Micha's  son/'  by  bribing  him  with  three 
hundred  guilders.  All  present  turn  from 
him  in  disgust  as  he  coolly  signs  away  his 
prospective  bride  and  pockets  the  money. 

ACT  III 

The  Village  Square.  A  traveling  show- 
man's troupe  is  performing.  Wenzel 
especially  is  delighted  with  the  perform- 
ance, on  account  of  a  Spanish  dancer, 
Esmeralda.  The  manager  engages  the  lad 
to  take  the  part  of  a  dancing  bear,  and 
promises  him  the  hand  of  Esmeralda.  At 
this  moment  his  parents  approach  with  the 
marriage  papers  but  he  refuses  to  sign  them 
and  runs  away.  Meanwhile  Maria  is  in 
tears  over  the  action  of  her  lover,  Hans,  but 
will  not  make  another  choice.  Hans  now 
reappears  upon  the  scene,  still  without 
showing  any  remorse.  He  repeats  that  she 
shall  wed  with  "  Micha's  son,"  as  the  docu- 


20  OPERA  SYNOPSES 


ment  reads,  and  finally  discloses  himself  as 
the  long-lost  son  of  Micha  by  a  former 
marriage.  His  stepmother  is  angry  over 
the  trick  but  is  later  appeased;  the  bride 
is  reconciled  to  her  "sale,"  and  only  Kezul 
retires  crestfallen. 


LA  BOHEME 


(The  Bohemians).  Romantic  Opera  in  Four  Acts. 
Music  by  Giacomo  Puccini.  Book  by  Giacosa 
and  Illica,  after  Henry  Murger's  "Vie  de  Bo- 
heme."  First  produced  at  the  Teatro  Regio, 
Turin,  February  1,  1896. 

SCENE  :    Paris. 
TIME:    1830. 


CAST 

RUDOLPH,  a  poet  (Tenor). 
SCHAUNARD,  a  musician  (Baritone). 
MARCEL,  a  painter  (Baritone). 
COLLINE,  a  philosopher  (Basso). 
BENOIT,  a  landlord  (Basso). 
MIMI,  a  flower  girl  (Soprano). 
MUSETTA,  a  grisette  (Soprano). 
PARPIGNOL,  a  toy  vender  (Tenor). 
ALCINDORO,  a  wealthy  Parisian  (Basso). 

Sergeant,  Guards,  Grisettes,  Students, 
Children,  Waiters,  Citizens. 


21 


ARGUMENT 

"  La  Boheme  "  is  a  picture  of  happy-go- 
lucky  artist  life  in  the  Latin  Quarter  of 
Paris,  with  its  lights  and  shadows,  comedies 
and  tragedies. 

ACT  I 

A  Garret  occupied  by  Four  Bohemians. 
Rudolph,  a  poet,  Schaunard,  a  musician, 
Marcel,  a  painter,  and  Colline,  a  dreamer, 
live  together  in  a  Parisian  attic  in  a  state  of 
chronic  poverty,  yet  in  perfect  harmony 
and  good  fellowship.  The  poet  and  the 
painter  are  discovered,  when  the  curtain 
rises,  sitting  in  the  bare  and  comfortless 
room  both  cold  and  hungry.  They  feed  one 
of  Rudolph's  manuscripts  to  the  stove  in 
the  effort  to  extract  a  little  warmth.  Enter 
Colline  also  to  warm  up,  and  he  is  followed 
by  a  boy  bringing  in  fuel  and  materials  for 
a  feast.  While  they  are  overjoyed  at  this 
windfall,  Schaunard  arrives  with  a  wonder- 
ful tale  of  how  he  has  lined  his  pockets  and 
thus  can  afford  to  give  the  spread.  All  fall 
22 


LA  BOHEME  23 


to  with  gusto,  but  at  this  moment  Benoit 
the  landlord  arrives  seeking  to  collect  his 
long-overdue  rent.  They  ply  him  with 
wine  until  he  begins  to  tell  libertine  stories 
when  they  pretend  to  be  greatly  shocked 
and  thrust  him  out  of  the  door.  The  rent 
money  is  divided  for  a  further  carouse  in 
the  Latin  Quarter.  Rudolph  alone  remains 
under  a  plea  that  he  wants  to  finish  some 
writing.  Presently  a  knock  is  heard.  It  is 
Mimi,  a  pretty  neighbor  of  theirs,  who 
comes  to  ask  for  a  light  for  her  candle.  She 
departs  but  soon  returns  saying  that  she 
has  dropped  her  key.  Rudolph  aids  her  to 
look  for  it  and  both  candles  are  extin- 
guished. The  poet  finds  and  pockets  the 
key.  They  relate  to  each  other  their  varied 
experiences,  and  decide  to  cast  their  lots 
together.  They  depart  to  join  the  other 
Bohemians,  singing  "Love  Alone," 

ACT  II 

A  Public  Square  in  the  Latin  Quarter. 
The  four  friends  are  spending  Schaunard's 
money  right  and  left.  Rudolph  buys  Mimi 
a  hat,  and  all  seat  themselves  at  a  cafe 
table  and  order  lavishly.  While  they  are 


24  OPERA  SYNOPSES 

dining,  Musetta,  an  old  flame  of  Marcel's, 
enters  with  a  wealthy  admirer,  Alcindoro. 
Musetta  no  sooner  sees  Marcel  than  she 
tries  in  every  way  to  attract  his  attention, 
and  also  to  get  rid  of  her  aged  suitor.  She 
finally  sends  the  latter  out  to  buy  her  a  new 
pair  of  shoes,  under  a  pretext  that  her  old 
ones  hurt  her  feet,  and  then  rushes  over  and 
embraces  Marcel.  The  Bohemians  find 
that  they  have  spent  all  their  money  and 
cannot  pay  the  dinner  bill,  but  Musetta 
tells  them  not  to  worry,  that  she  will  add  it 
to  her  own  and  leave  it  for  Alcindoro  to  pay. 
All  disperse  as  a  party  of  guards  comes  by, 
and  Alcindoro  upon  returning  finds  a  bill 
of  such  huge  proportions  that  he  falls  in  a 
heap  on  his  chair, 

ACT  III 

At  a  Gate  of  Customs.  It  is  still  winter, 
and  the  custom's  officers  examine  the  pass- 
ports of  all  who  enter  the  city.  Mimi  who 
is  suffering  from  consumption  comes  to 
the  gate  to  ask  for  Marcel  who  is  doing 
some  work  hard  by.  When  he  appears  she 
tells  him  that  she  is  miserable  as  she  cannot 
live  with  Rudolph  and  also  cannot  live 


LA  BOHEME  25 


without  him.  They  have  quarreled.  Mar- 
cel goes  to  summon  Rudolph,  and  Mimi 
hides  behind  a  tree.  The  poet  tells  his 
friend  why  he  has  left  Mimi.  She  coughs 
and  reveals  her  presence,  and  he  takes  the 
sick  girl  in  his  arms.  Meanwhile  Marcel 
becomes  jealous  of  Musetta,  whom  he 
accuses  of  flirting  in  the  inn. 

ACT  IV 

The  Garret  as  in  First  Act.  Marcel  and 
Rudolph  are  at  work  when  the  other  two 
Bohemians  arrive  with  materials  for  a 
scanty  dinner.  They  make  merry,  how- 
ever, over  the  repast,  pretending  that  it  is 
a  banquet.  Musetta  comes  in,  saying  that 
Mimi  is  extremely  ill.  All  bustle  to  help 
the  invalid.  They  place  her  upon  a  cot 
and  hasten  out  to  pawn  their  clothing  if 
necessary  to  buy  her  food  and  medicines. 
Rudolph  alone  remains  and  the  two 
lovers  are  again  reconciled  and  resolve 
never  to  part  thereafter.  The  others 
return  bringing  various  things,  but  Mimi 
is  beyond  aid.  She  expires  while  Rudolph 
kneels  weeping  by  her  bed. 


THE   BOHEMIAN   GIRL 


Romantic  Opera  in  Three  Acts.  Music  by  Michael 
William  Balfe.  Book  by  Alfred  Bunn.  First 
produced  at  the  Drury  Lane  Theatre,  London, 
November  27,  1843. 

SCENE  :    Presburg  and  Vicinity. 
TIME:     18th  Century. 


CAST 

COUNT  ARNHEIM,  Governor  of  Presburg 

(Baritone). 

THADDEUS,  a  Polish  exile  (Tenor). 
FLORESTEIN,  the  Count's  nephew  (Tenor). 
DEVILSHOOF,  chief  of  the  gipsies  (Basso). 
CAPTAIN  OP  THE  GUARD  (Basso). 
ARLINE,  the  Count's  daughter  (Soprano). 
BUDA,  her  nurse  (Soprano). 
THE  GIPSY  QUEEN  (Soprano). 

Gipsies,  Huntsmen,  Officers,  Guests. 


27 


ARGUMENT 

"The  Bohemian  Girl"  is  the  romantic 
story  of  a  high-born  child  kidnapped  by 
the  gipsies,  whose  after  life  is  an  inter- 
mingling of  court  and  rustic  environment. 
It  has  remained  one  of  the  most  popular 
of  the  lighter  operas. 

ACT  I 

Count  Arnheim's  Estate.  A  group  of 
huntsmen  await  the  coming  of  their 
master  the  Count,  who  is  going  upon  a 
chase.  He  appears  leading  by  the  hand 
his  little  daughter,  Arline,  to  whom  he 
bids  farewell,  as  the  hunters  set  forth. 
After  they  have  gone  and  Arline's  nurse 
has  taken  her  away,  Thaddeus,  a  Polish 
fugitive,  rushes  in  seeking  to  escape  the 
Austrian  soldiers.  A  gipsy  band  next 
comes  upon  the  scene,  headed  by  Devils- 
hoof,  who  induces  the  exile  to  join  them. 
His  belongings  are  taken  away  from  him 
and  he  is  given  a  ragged  gipsy  dress  which, 
however,  serves  him  as  a  disguise.  Flor- 
28 


THE  BOHEMIAN  GIRL  29 

estein,  the  Count's  nephew,  now  rushes  in, 
greatly  excited,  saying  that  Arline  has 
been  attacked  by  a  vicious  stag.  Thaddeus 
seizes  a  rifle,  hastens  after  the  hunters, 
and  kills  the  animal.  In  gratitude,  the 
Count  asks  him  to  dine  with  the  huntsmen, 
but  at  the  banquet  Thaddeus  refuses  to 
drink  a  toast  to  the  emperor.  The  soldiers 
are  ready  to  lay  violent  hands  upon  him, 
when  Devilshoof  interferes  in  his  behalf. 
The  latter  is  imprisoned  for  his  temerity 
but  soon  escapes  and  is  seen  carrying  off 
Arline,  across  a  gorge  in  the  mountains. 

ACT  II 

Scene  1.  A  Gipsy  Camp  in  Presburg. 
Twelve  years  have  elapsed  since  the  kid- 
napping of  the  Count's  daughter.  The 
child  has  grown  up  into  a  beautiful  young 
woman,  and  her  devoted  guard  is  Thad- 
deus. The  gipsies  have  reared  the  girl  as 
one  of  their  band.  While  Arline  is  sleeping 
Florestein,  who  comes  drunken  upon  the 
scene,  is  robbed  of  a  medallion.  Arline 
now  awakens  and  tells  Thaddeus  of  her 
dream  "  of  marble  halls  "  of  her  childhood. 
The  two  declare  their  mutual  love,  and 


30  OPERA  SYNOPSES 

their  hands  are  joined  in  the  gipsy  rite  of 
betrothal  by  the  Queen,  who,  however,  is 
jealous  and  vows  vengeance. 

Scene  2.  Another  Street.  The  gipsies 
led  by  Arline  go  singing  down  the  street  on 
the  way  to  a  great  fair. 

Scene  3.  The  Fair.  A  crowd  of  sight- 
seers and  amusement-seekers  is  present. 
Florestein  and  the  Count  appear,  and  the 
former  attempts  some  familiarities  with 
Arline  who  resents  them.  The  gipsy  Queen 
then  slips  the  stolen  medallion  into  the 
girl's  possession  so  that  she  may  be  accused 
of  robbing  him.  The  plan  succeeds  and 
Arline  is  arrested. 

Scene  4.  Count  Arnheim's  Apartments. 
While  the  Count  is  gazing  at  the  portrait 
of  his  long-lost  daughter,  the  supposed 
gipsy  girl  is  brought  before  him  charged 
with  the  theft  of  the  medallion.  She  pleads 
her  innocence,  and  her  story  and  a  scar 
upon  her  arm  enable  the  Count  to  recognize 
her  as  his  daughter,  and  he  receives  her 
with  open  arms. 

ACT  III 

Hall  in  the  Count's  Castle.  Arline  is 
seen  surrounded  by  every  luxury,  but  her 


THE  BOHEMIAN  GIRL  31 

heart  is  sad.  She  remembers  the  old  free 
life  and  her  love  for  Thaddeus.  He  also 
is  longing  for  her,  and  through  the  boldness 
of  Devilshoof  comes  to  visit  her,  but  before 
the  two  men  can  retreat,  guests  appear  and 
they  are  forced  to  hide  themselves.  When 
the  hall  is  filled  with  guests,  the  gipsy 
Queen  appears  and  endeavors  to  throw 
shame  upon  Arline  by  announcing  that 
she  has  concealed  Thaddeus.  The  latter 
comes  forward  to  defend  the  girl's  name, 
and  discloses  his  own  identity  as  a  Polish 
noble.  The  Count  finally  relents  and 
agrees  to  his  suit  for  Arline's  hand.  The 
gipsy  Queen  in  a  rage  attempts  to  shoot 
Thaddeus,  but  as  Devilshoof  tries  to  wrest 
the  rifle  from  her  hands,  kills  herself 
instead. 


CARMEN 

Romantic  Opera  in  Four  Acts.  Music  by  Georges 
Bizet.  Book  by  Meilhac  and  Hal6vy,  after  the 
novel  by  Prosper  Merimde.  First  produced  at 
the  Opera  Comique,  Paris,  March  3,  1875. 

SCENE  :    Seville. 

TIME:    Early  part  of  19th  Century. 


CAST 

ZTJNIGA,  a  lieutenant  (Basso). 
JOSE,  a  sergeant  (Tenor). 
MORALES,  a  sergeant  (Basso). 
ESCAMILLO,  a  bull-fighter  (Basso). 
DANCAIRO,  a  smuggler  (Tenor). 
REMENDADO,  a  smuggler  (Baritone). 
CARMEN,  a  gipsy  girl  (Soprano). 
FRASQUITA,  a  gipsy  (Soprano). 
MERCEDES,  a  gipsy  (Contralto). 
MICHAELA,  a  peasant  girl  (Soprano). 

Gipsies,  Peasants,  Citizens,  Cigarette 
Girls,  Soldiers. 


33 


ARGUMENT 

"  Carmen "  is  a  colorful  opera,  founded 
upon  MerimeVs  brilliant  romance  depict- 
ing Spanish  gipsy  and  peasant  life.  The 
central  figure  is  a  heartless  coquette  who 
lives  only  for  the  passion  of  the  passing 
moment. 

ACT  I 

A  City  Square.  A  troop  of  soldiers  under 
the  command  of  Don  Jose,  together  with 
town  idlers  throng  the  open  square  during 
the  noon  hour.  Especially  are  they  inter- 
ested in  the  pretty  girls  who  work  in  a 
neighboring  cigarette  factory.  Only  the 
officer,  Don  Jose",  is  indifferent  to  these 
coquettes  as  they  jest  with  the  men. 
Seeing  his  indifference,  Carmen,  the  gipsy 
girl  and  the  greatest  flirt  of  them  all, 
practices  her  wiles  upon  him  and  flings 
him  a  red  rose.  Don  Josh's  blood  is  finally 
fired,  but  the  girls  return  to  their  work,  and 
Michaela,  a  gentle  peasant  girl  from  his 
home  village,  arrives  with  a  message  for 
him.  The  officer  is  about  to  throw  the 
34 


CARMEN  38 


gipsy's  rose  away  when  a  commotion  is 
heard  within  the  factory  and  the  girls  rush 
out.  Carmen  has  quarreled  with  another 
girl  and  stabbed  her.  The  assailant  is 
brought  forward  and  pinioned  to  prevent 
further  mischief,  but  she  so  bewitches  the 
young  officer  that  he  connives  at  her 
escape. 

ACT  II 

A  Tavern  Room.  Carmen  has  returned 
to  her  nomadic  life  and  we  find  her  with 
her  companions  singing  and  carousing  in  a 
road  house.  The  famous  bull-fighter, 
Escamillo,  enters,  and  Carmen  is  greatly 
fascinated  by  him  and  also  makes  him 
aware  of  her  charms.  The  inn  is  closed 
for  the  evening,  but  Carmen  and  two  of 
the  gipsy  men  who  are  smugglers  await  the 
arrival  of  Jose.  The  latter  is  deeply  in  the 
girl's  toils,  and  when  he  appears  she  urges 
him  to  desert  the  army  and  join  the  gipsy 
band.  At  first  he  refuses,  but  when  a 
superior  officer  appears  and  orders  him 
out,  swords  are  drawn.  Carmen  summons 
the  gipsies,  who  overpower  the  officer,  and 
all  including  Jose  escape  to  the  mountains. 


36  OPERA  SYNOPSES 

ACT  III 

Mountain  Retreat  of  the  Smugglers. 
The  smugglers  have  been  busy  and  suc- 
cessful, aided  by  Jos6  who  is  still  wildly  in 
love  with  Carmen.  She,  however,  is  grow- 
ing cold  to  him.  He  sees  this  and  is  deeply 
dejected  by  it  and  at  the  thought  of  his 
perfidy.  Carmen's  latest  conquest,  Esca- 
millo,  now  appears  seeking  her,  and  Jose" 
wildly  jealous  would  spring  at  his  throat 
but  for  the  intervention  of  the  gipsies. 
The  faithful  Michaela  again  finds  Jos6 
and  beseeches  him  to  hasten  with  her  to 
the  bedside  of  his  dying  mother.  After  a 
struggle  between  duty  and  desire,  duty 
prevails  and  he  departs  with  her. 

ACT  IV 

Exterior  of  the  Bull-Fighting  Arena.  All 
Seville  is  hastening  to  one  of  the  great 
fights  of  the  season,  where  their  favorite 
toreador,  Escamillo,  is  to  appear.  Carmen 
has  accompanied  him,  despite  the  warn- 
ings of  her  friends  that  the  furious  Jos6  is 
seeking  her.  Amid  great  pomp  Escamillo 
enters  the  arena,  but  before  she  can  follow 


CARMEN  37 

him,  her  discarded  lover  appears.  At  first 
he  pleads  with  her  to  return  to  him.  She 
refuses,  and  the  enraged  Jos6  stabs  her  to 
the  heart  just  as  the  victorious  fighter 
returns  from  the  arena. 


CAVALLERIA   RUSTICANA 


(Rustic  Chivalry).  Dramatic  Opera  in  One  Act. 
Music  by  Pietro  Mascagni.  Book  by  Targioni- 
Tozzetti  and  Menasci,  after  the  story  by  Gio- 
vanni Verga.  First  produced  at  the  Costanzi 
Theatre,  Rome,  May  20,  1890. 

SCENE  :    A  village  of  Sicily. 
TIME:    The  Present. 


CAST 

TURIDDU,  a  farmer  (Tenor). 
LUCIA,  his  mother  (Contralto). 
ALFIO,  a  carter  (Baritone). 
LOLA,  his  wife  (Contralto). 
SANTTJZZA,  a  peasant  girl  (Soprano). 

Peasant  Neighbors  and  Villagers. 


39 


ARGUMENT 

The  theme  of  "  Rustic  Chivalry  "  is  well 
described  by  its  title  and  still  better  by  the 
impassioned  music  which  follows  closely 
the  simple  story  to  its  tragic  close. 

The  scene  is  an  open  village  square,  at 
one  side  of  which  is  a  church.  Before  the 
curtain  rises,  Turiddu,  the  young  farmer, 
sings  of  his  old  love,  Lola,  "lovely  as  the 
spring's  bright  blooms."  Turiddu  has 
been  in  love  with  Lola,  but  while  he  was 
absent  in  army  service,  she  marries  Alfio, 
a  carter.  Turiddu  turns  for  consolation  to 
Santuzza,  a  peasant  girl  who  loves  him  not 
wisely  but  too  well.  Becoming  tired  of 
this  easy  conquest,  he  turns  again  to  Lola 
despite  the  fact  that  she  is  wedded.  This 
is  the  state  of  affairs  as  the  curtain  rises  on 
a  peaceful  village  scene.  It  is  Easter,  and 
the  devout  peasants  are  going  to  church. 
Santuzza  meets  Lucia,  her  lover's  mother, 
outside  the  church  and  gives  her  some 
inkling  of  the  state  of  affairs.  Next  the 
faithless  Turiddu  appears  with  Lola,  and 
spurns  the  weeping  Santuzza.  Driven  to 
40 


CAVALLERIA  RUSTIC  AN  A  41 

despair  she  tells  Alfio  of  his  wife's  conduct. 
The  carter  departs  threatening  vengeance. 
During  the  interval  while  the  worshippers 
are  in  the  church  (Intermezzo)  the  stage 
remains  empty,  but  the  curtain  does  not 
fall. 

Church  services  over,  the  merry  villagers 
throng  the  square,  meeting  and  greeting. 
Cups  are  passed  and  Turiddu  sings  a 
rollicking  drinking  song.  Alfio  returns  at 
this  moment  and  is  invited  to  drink.  In- 
stead he  refuses  and  challenges  Turiddu 
to  fight,  giving  this  challenge  in  the  Sicilian 
form  of  biting  his  enemy's  ear.  The  two 
retire,  after  Turiddu  has  bidden  his  mother 
farewell  and  asked  her  to  care  for  the 
wronged  Santuzza,  and  fight  their  duel 
behind  the  scenes.  A  short,  terrible  pause 
ensues,  followed  by  running  messengers, 
and  a  cry  from  the  women,  "  Turiddu  has 
been  slain  1" 


THE  CHIMES  OF  NORMANDY 


(Les  Cloches  de  Corneville).  Light  Opera  in  Three 
Acts.  Music  by  Robert  Jean  Planquette.  Book 
by  Clairville  and  Gabet.  First  produced  at  the 
Folies  Dramatiques,  Paris,  April  19,  1877. 

SCENE  :    Normandy 

TIME  :    Reign  of  Louia  XV. 


CAST 

HENRI,  Marquis  of  Villeroi  (Baritone). 
GASPARD,  a  miser  (Basso). 
GERMAINE,  his  niece  (Soprano). 
SERPOLETTE,  a  village-girl  (Contralto). 
JEAN  GRENICHEUX,  a  fisherman  (Tenor). 
THE  SHERIFF  (Basso). 

Villagers,  Fishers,  Servants,  etc. 


43 


ARGUMENT 

"  The  Chimes  of  Normandy "  is  a  tune- 
ful light  opera  dealing  with  peasant  and 
fisher  life  in  an  old  village  of  Normandy. 

ACT  I 

Fair  Day  in  Corneville.  Henri,  the  old 
Marquis  of  Villeroi,  who  has  long  been 
absent  from  his  home,  is  returning,  and  the 
villagers  are  celebrating  the  event.  It  is 
fair  day  and  the  village  gossips  are  busy 
with  their  tales.  They  are  especially 
severe  with  Serpolette,  the  village  madcap, 
who  proves,  however,  that  she  is  abun- 
dantly able  to  take  care  of  herself  with  her 
sharp  tongue.  Another  personage  who 
comes  in  for  a  full  share  of  criticism,  is  the 
old  miser  Gaspard,  reputed  to  be  very  rich, 
but  living  a  pinched  life  and  dealing 
harshly  with  his  ward,  Germaine.  He  is 
determined  that  she  shall  marry  the 
Sheriff,  while  she  says  that  if  she  weds  at 
all,  it  should  be  with  Jean  Grenicheux, 
a  young  fisherman,  in  gratitude  for  having 
saved  her  life,  To  escape  the  miser's  plans 
44 


THE  CHIMES  OF  NORMANDY         45 

both  she  and  Jean,  together  with  Serpo- 
lette,  decide  to  enter  the  service  of  the 
marquis. 

ACT  II 

The  Gastle  of  Villeroi.  For  many  years, 
ever  since  the  Marquis  first  went  away,  the 
old  castle  has  been  supposedly  haunted. 
It  is  now  an  object  of  superstitious  dread 
to  the  villagers.  But  the  Marquis  resolves 
to  restore  it  to  its  former  beauty,  and 
orders  his  servants  to  search  it  thoroughly. 
They  discover  the  miser  Gaspard,  who  has 
employed  this  means  of  concealing  his 
gold  and  preventing  others  from  intruding 
while  gloating  over  his  treasures.  When  he 
is  brought  to  light,  the  shame  of  the  dis- 
covery and  fear  of  losing  his  wealth  drive 
him  raving  mad. 

ACT  III 

Banquet  Hall  of  the  Castle.  The  castle 
has  been  entirely  restored  and  the  Marquis 
gives  a  great  entertainment  to  all  the  vil- 
lagers. The  reigning  belle  of  the  occasion  is 
Scrpolette,  some  papers  having  been  found 
which  indicate  that  she  is  the  missing 


46  OPERA  SYNOPSES 

heiress  to  the  miser's  gold.  Jean  is  now 
her  faithful  satellite,  while  the  Marquis 
and  Germaine  feel  strongly  drawn  to  each 
other,  although  Germaine  tries  to  repulse 
him  on  the  ground  that  she  is  now  only  a 
servant.  The  Marquis  pays  no  heed  to 
this,  however,  and  Gaspard,  who  has  been 
wandering  around  in  a  demented  state, 
finally  recovers  his  reason  and  proves  that 
Germaine  is  the  rightful  heiress  after  all. 
No  bar  now  remains  to  the  happiness  of 
the  lovers  and  Serpolette's  pranks  are  for- 
given. 


THE  DAMNATION  OF  FAUST 


Dramatic  Opera  in  Four  Acts.  Music  by  Hector 
Berlioz.  Book  by  Berlioz,  Gerard  and  Gandon- 
niere.  First  produced  in  Paris,  without  costumes, 
in  1846. 

SCENE:    A  German  Village. 
TIME:    The  18th  Century. 


CAST 

FAUST,  a  philosopher  (Tenor). 
MEPHISTOPHELES,  the  tempter  (Basso). 
BRANDER,  a  convivial  friend  (Basso). 
MARGUERITE,  a  peasant  girl  (Soprano). 

Peasants,  Troopers,  Roysterers,  Students, 
Sylphs,  Fiends,  Angels. 


47 


ARGUMENT 

This  version  of  the  Faust  legend  is  re- 
markable on  its  own  account,  both  for  its 
dramatic  intensity  and  the  passion  of  its 
music. 

ACT  I 

The  Open  Fields.  Faust,  a  learned  phil- 
osopher, wanders  out  into  the  sunrise,  tired 
of  books  for  the  nonce  and  pondering  the 
mysteries  of  Nature.  He  observes  a  group 
of  peasants  who  take  great  delight  in  a 
parade  of  marching  soldiers,  but  he  only 
wonders  at  their  enthusiasm. 

ACT  II 

Faust's  Study.  The  philosopher  returns 
to  his  books  more  than  ever  weary  of  them 
and  of  all  the  world.  Somehow  with  all 
his  learning  his  heart  is  empty  and  un- 
satisfied. He  resolves  to  end  it  all  with  a 
dose  of  poison,  but  the  sound  of  Easter 
music  stays  his  hand.  Now  comes  the 
fiend,  Mephistopheles,  to  tempt  him  with 
the  pleasures  of  the  world,  and  Faust 
48 


THE  DAMNATION  OF  FAUST          49 

'yields  and  goes  with  him  to  a  tavern.  The 
coarse  songs  and  jests  of  the  roysterers 
soon  disgust  him,  however,  and  Mephis- 
tophcles  takes  him  to  a  beautiful  garden 
where  he  is  lulled  to  sleep  by  soft  music 
and  dreams  of  a  charming  peasant  girl, 
Marguerite.  Sylphs  dance  about  him  as 
he  awakes,  filled  with  desire  to  find  the 
girl  of  his  dreams.  Soldiers  and  students 
pass  by  singing  their  rollicking  songs,  and 
Faust  feels  the  love  of  the  world  once  more 
surging  through  his  veins. 

ACT  III 

Marguerite's  Chamber.  The  fiend  con- 
ducts Faust  to  the  home  of  his  unknown 
sweetheart,  and  Faust  conceals  himself  in 
her  room.  Marguerite  also  has  dreamed  of 
Faust  and  enters  the  room  musing  upon 
her  vision  while  she  braids  her  hair.  Mean- 
while, Mephistopheles  sings  a  mocking 
song  without.  Faust  reveals  himself  to 
the  startled  girl  and  pleads  his  suit  so 
ardently  that  she  is  finally  persuaded  to 
give  herself  to  him.  Their  love  scene  is 
interrupted  by  the  fiend  who  comes  to 
warn  them  that  Marjmeriie's  mother  and 


60  OPERA  SYNOPSES 

friends  are  near  at  hand.  Faust  is  dragged 
away  unseen  by  the  exultant  demon,  while 
the  villagers  threaten  the  defenceless  girl. 

ACT  IV 

Scene  1.  Marguerite's  Chamber.  Mar- 
guerite sits  alone  and  grief-stricken,  sor- 
rowing for  her  own  sin,  for  her  mother's 
death,  and  for  the  absent  Faust.  Soldiers 
march  past  singing. 

Scene  2.  Faust's  Study.  Faust  also  is 
yearning  for  Marguerite,  and  when  the 
fiend  appears  and  tells  him  he  can  save  the 
girl  only  by  signing  a  paper,  Faust  con- 
sents. Marguerite  is  in  prison  condemned 
to  death  for  the  murder  of  her  mother,  to 
whom  Mephistopheles  had  given  too 
heavy  a  sleeping  potion.  The  paper,  how- 
ever, does  not  free  Marguerite  but  instead 
consigns  Faust's  soul  to  perdition.  He 
goes  with  the  fiend  upon  a  wild  night  ride 
on  two  black  chargers  which  at  last  convoy 
them  to  Holl,  where  a  group  of  demons 
exult  over  his  downfall. 

Epilogue.  The  Prison  Cell.  The  un- 
happy and  penitent  Marguerite  is  saved 
and  ascends  with  angels  to  Heaven. 


DON  GIOVANNI 


(Or,  The  Marble  Guest).  Opera  Bouffe  in  Two 
Acts.  Music  by  Johann  Wolfgang  A.  Mozart. 
Book  by  Da  Ponte,  after  a  Spanish  tale  by  Tirso 
de  Molina.  First  produced  at  Prague,  October 
29,  1787. 

SCENE:    Seville. 

TIME:    The  17th  Century. 


CAST 

DON  GIOVANNI  (JUAN),  a  Castilian  dandy 

(Baritone). 

DON  PEDRO,  the  Commandant  (Baritone). 
ANNA,  his  daughter  (Soprano). 
ELVIRA,  a  former  sweetheart  of  Juan 

(Soprano). 

DON  OCTAVIO,  the  fiance  of  Anna  (Tenor). 
LEPORELLO,  servant  of  Juan  (Basso) 
MASETTO,  a  peasant  (Basso). 
ZERLINA,  his  betrothed  (Soprano). 

Spanish  Nobles,  Ladies,  Guests,  Guards, 
Servants. 


ARGUMENT 

Among  the  many  operas  on  the  subject 
of  Don  Juan  and  his  amours,  none  has  the 
merit  or  the  continuing  popularity  of  this 
of  Mozart. 

ACT  I 

Scene  1.  The  Garden  of  the  Com- 
mandant's Palace.  Don  Juan,  a  notorious 
libertine  of  Seville,  goes  by  night  to  enter 
the  apartments  of  Don  Pedro's  daughter, 
Anna,  who  is  betrothed  to  Octavio.  As 
soon  as  she  discovers  the  intruder's  pres- 
ence she  cries  for  help,  and  her  father 
hastens  to  her  aid.  He  is  mortally  wounded 
by  Don  Juan,  who  escapes  in  the  darkness 
without  being  recognized. 

Scene  2.  Public  Square  in  Front  of 
Don  Juan's  Palace.  Returning  from  this 
bloody  adventure,  Don  Juan  and  his  ser- 
vant Leporello  calmly  discuss  new  con- 
quests. While  they  consult,  a  former 
discarded  sweetheart,  Elvira,  appears  and 
upbraids  Don  Juan  for  his  cruelty.  He 
retreats,  leaving  the  girl  with  his  servant, 
52 


DON  GIOVANNI  53 

• 

who  reveals  to  her  the  amazing  list  of  his 
master's  villainies. 

Don  Juan's  next  piece  of  rascality  is  an 
attempt  to  seduce  Zerlina,  a  peasant  girl, 
on  the  very  eve  of  her  wedding  with 
Masetto,  a  villager.  He  is  foiled,  however, 
by  the  entrance  of  Elvira,  who  shows  the 
girl  her  danger.  Meanwhile,  Octavio  and 
Anna  have  been  searching  for  the  murderer 
of  Anna's  father,  and  come  to  ask  Don 
Juan  to  aid  them  in  their  search,  but  they 
soon  begin  to  suspect  the  libertine  of  the 
deed.  Preparations  proceed  for  the  peasant 
wedding,  and  Don  Juan's  servant  aids 
him  to  hoodwink  Masetto  and  Zerlina. 
The  jealous  bridegroom  is  pacified  by  his 
bride,  while  the  libertine  conducts  both 
to  a  gaily  decorated  apartment  prepared 
for  them.  Masked  guests  arrive. 

Scene  3.  The  Ball  Room.  While  all 
the  guests  engage  in  a  dance,  Leporello 
devotes  himself  to  Masetto,  and  Don  Juan 
conducts  Zerlina  to  a  private  room.  She 
resists  his  advances  and  her  cries  attract 
the  masked  guests  who  prove  to  be  Anna, 
Elvira,  and  Octavio.  Don  Juan  draws  his 
sword,  fights  his  way  through  the  crowd 
and  escapes. 


64  OPERA  SYNOPSES 

— -  » 

ACT  II 

Scene  1.  Before  Elvira's  House.  Don 
Juan  still  pursues  Zerlina,  who  is  in  the 
service  of  Elvira.  He  exchanges  cloaks 
with  his  servant,  who  goes  to  call  upon  the 
mistress  while  the  master  devotes  himself 
to  the  maid.  Masetto  comes  upon  the 
latter,  in  the  midst  of  a  serenade,  but  is 
beaten  by  Don  Juan,  who  again  gets  away. 

Scene  2.  Elvira's  Apartments.  The 
pretended  Don  Juan  is  unmasked  by 
Elvira,  Anna  and  Octavio,  ard  found  to  be 
Leporello.  Their  suspicions  are  further 
confirmed  as  to  Don  Juan's  guilt. 

Scene  3.  A  Graveyard,  in  which  stands 
a  statue  of  the  slain  Don  Pedro.  Leporello, 
who  has  escaped,  comes  to  tell  his  master  of 
what  has  occurred,  but  the  latter's  spirits 
are  still  gay  and  he  plans  further  deeds  of 
violence.  At  this  juncture  a  hollow  voice 
warns  him  to  repent  ere  it  is  to  late.  It  is 
the  statue  of  the  murdered  nobleman  speak- 
ing to  him.  The  libertine,  unabashed, 
jeers  even  at  this  and  invites  the  statue  to 
attend  a  banquet  which  he  is  to  give. 

Scene  4.  The  Apartments  of  Donna 
Anna.  Love  scene  between  Anna  and 
Octavio  (sometimes  omitted). 


DON  GIOVANNI  55 

Scene  5.  Don  Juan's  Dining  Hall.  True 
to  his  word  Don  Juan  has  spread  a  sump- 
tuous repast,  and  in  the  midst  of  it  a 
heavy  tread  is  heard.  The  marble  statue 
of  the  Commandant  enters  and  bids  the 
libertine  accompany  him.  The  floor  opens 
and  both  descend  into  the  infernal  regions. 


DON    PASQUALE 


Opera  Bouffe  in  Three  Acts.  Music  by  Gaetano 
Donizetti.  Book  by  Camerano,  after  "Ser  Marc' 
Antonio."  First  produced  at  the  Theatre  des 
Italiens,  Paris,  January  4,  1843. 

SCENE  :    Rome. 
TIME:    The  Present. 


CAST 

DON  PASQUALE,  an  old  bachelor  (Basso). 
DR.  MALATESTA,  a  physician  (Baritone). 
ERNESTO,  nephew  of  Pasquale  (Tenor). 
NORINA,  a  young  widow  (Soprano). 
A  NOTARY  (Basso). 

Citizens,  Tradespeople,  Servants. 


57 


ARGUMENT 

"  Don  Pasqualc  "  is  a  gay  little  farce  of 
manners  which  has  been  given  a  charac- 
teristic and  worthy  musical  setting. 

ACT  I 

Don  Pasquale's  Apartments.  The  fin- 
icky old  bachelor,  Don  Pasquale,  has 
worked  himself  up  into  a  fine  rage  because 
his  nephew,  Ernesto,  is  not  marrying  to  suit 
him.  Ernesto  wishes  to  wed  Norina,  a 
bewitching  young  widow.  Dr.  Malatesta 
a  family  friend  of  all  parties  contrives  a 
plot  in  the  young  man's  behalf.  The 
physician  urges  the  Don  himself  to  marry 
a  lady  of  his  choosing,  a  supposed  sister  of 
Malatesta's.  This  pseudo-sister  and  bride 
is  none  other  than  Norina,  who  is  instructed 
to  make  life  a  burden  for  the  old  gentleman. 

ACT  II 

Don  Pasquale's  Apartments.     True  to 
her  role,    Norina  begins  to   carry  things 
with  a  high  hand.     She  refuses  to  accept 
58 


DON  PASQUALE  59 

any  of  the  Don's  affectionate  advances, 
and  behaves  like  a  shrew.  Ernesto,  who  is 
a  bewildered  onlooker,  is  invited  by  her  to 
be  her  escort  on  a  shopping  expedition. 
Meanwhile  she  lays  out  such  an  extravagant 
scheme  for  keeping  house  that  the  Don 
flies  into  a  passion,  declaring  that  she  will 
bankrupt  him. 

ACT  III 

Scene  1.  Don  Pasquale's  Apartments. 
Norina  is  found  surrounded  by  trades- 
people to  whom  she  has  given  large  orders. 
The  Don  enters  and  during  a  quarrel  she 
boxes  his  ears,  and  leaves  him  disconsolate. 
The  doctor  enters  and  tries  to  pacify  him, 
but  the  Don  insists  that  Norina  shall  quit 
his  house. 

Scene  2.  A  Balcony.  While  Ernesto  is 
serenading  Norina,  the  Don  taxes  her  with 
being  faithless;  but  in  the  course  of  explan- 
ations, he  discovers  that  his  marriage  con- 
tract has  been  only  a  sham,  and  he  is  only 
too  glad  to  get  out  of  the  bargain  and  unite 
the  two  lovers  with  his  blessing. 


ELEKTRA 


Dramatic  Opera  in  One  Act.  Music  by  Richard 
Strauss.  Book  by  Hugo  Von  Hofmannsthal. 
First  produced  in  Dresden,  January  25,  1909. 

SCENE  :    Greece. 
TIME  :    Antiquity. 


CAST 

QUEEN  KLYTEMNESTRA,  widow  of  Agamemnon 

(Mezzo-Soprano) . 
AEGISTHTJS,  her  paramour  (Basso). 
ORESTES,  the  Queen's  son  (Tenor). 
ELEKTRA,  the  Queen's  daughter  (Soprano). 
CHRYSOTHEMIS,  the  Queen's  daughter 

(Soprano) . 

Messenger,  Waiting  Women,  Soldiers, 
Courtiers. 


61 


ARGUMENT 

In  "Elektra,"  a  modern  continuation  of 
an  ancient  Greek  story,  the  death  of  King 
Agamemnon  at  the  hands  of  the  Queen 
and  her  paramour  is  avenged  by  the 
crazed  daughter.  The  story  is  unpleasant 
but  powerful  and  lends  itself  to  the  uncon- 
ventional musical  treatment  given  by  the 
composer.  The  action  is  confined  to  a 
single  act  which  takes  place  in  an  inner 
court  of  the  royal  palace  at  Mycene. 

As  servants  tell  of  the  strange  behavior  of 
the  grief-crazed,  revenge-driven  Elektra, 
daughter  of  the  murdered  Agamemnon, 
she  appears  and  tells  of  her  plans  of  ven- 
geance in  which  she  shall  be  aided  by 
Orestes,  her  brother.  Chrysothemis,  her 
sister,  who  is  actuated  by  softer,  more 
womanly  feelings,  now  enters  and  urges 
Elektra  to  abate  her  hatred  lest  harm  come 
to  them  all,  and  warns  her  especially 
against  their  mother.  The  Queen  appears 
at  a  lighted  window,  and  as  she  and  her 
wild  daughter  rail  at  each  other,  news  is 
brought  that  Orestes  is  dead.  Elektra, 
62 


ELEKTRA  63 


however,  states  that  she  alone  will  slay 
"the  woman  and  her  husband." 

But  the  report  as  to  Orestes  proves 
false,  as  he  presently  returns  to  the  court 
in  disguise.  At  first  Elektra  does  not 
know  him,  but  when  she  recognizes  him 
her  joy  is  almost  savage.  The  tragedy 
from  this  point  rapidly  reaches  its  con- 
summation. Urged  on  by  the  implacable 
sister,  Orestes  enters  the  palace  and  slays 
both  his  mother  and  Aegisthus,  while 
Elektra  waits  outside  in  a  perfect  frenzy  of 
impatience.  When  she  is  assured  that  the 
bloody  revenge  is  accomplished,  she  dances 
madly  until  she  falls  prone  upon  the 
ground.  Chrysothemis  runs  to  her  only  to 
find  her  dead. 


ERNANI 

Dramatic  Opera  in  Four  Acts.  Music  by  Giuseppe 
Verdi.  Book  by  F.  M.  Piave",  after  Hugo's 
"Hernani."  First  produced  at  the  Teatro 
Fenice,  Venice,  March  9,  1844. 

SCENE  :    Aragon,  Aix-la-Chapelle,  and  Sara- 
gassa. 

TIME:    1519. 


CAST 

DON  CARLOS,  King  of  Spain  (Baritone). 
DON  RUY  GOMEZ  DE  SILVA,  a  Spanish  grandee 

(Basso). 

DONNA  ELVIRA,  his  niece  (Soprano). 
JOHANNA,  her  nurse  (Contralto). 
ERNANI,  an  outlaw  (Tenor). 
DON  RICCARDO,  royal  armor-bearer  (Tenor). 
IAGO,  armor-bearer  to  Gomez  (Basso). 

Lords,  Ladies,  Soldiers,  Outlaws,  Servants. 


65 


ARGUMENT 

The  story  of  "Ernani"  originally  fol- 
lowed Hugo's  tragedy,  "Hernani,"  so 
closely  that  the  poet  accused  the  composer 
of  literary  piracy  and  demanded  that  the 
libretto  be  changed.  The  title  of  "II 
Proscritto"  was  therefore  given  the  opera 
for  a  time. 

ACT  I 

Scene  1.  A  Mountain  Retreat.  Ernani, 
the  son  of  a  Spanish  duke,  has  been  out- 
lawed by  the  King  and  becomes  chief  of  a 
robber  band.  He  has  fallen  deeply  in  love 
with  Donna  Elvira,  a  noble  lady,  and  hear- 
ing that  she  is  betrothed  to  Don  Gomez  de 
Silva,  a  wealthy  grandee,  he  plans  to 
abduct  her. 

Scene  2.  Donna  Elvira's  Apartments. 
During  the  preparations  for  Elvira's  mar- 
riage, a  cavalier  enters  her  apartments  and 
tries  to  persuade  her  to  fly  with  him.  Her 
cries  for  assistance  bring  Ernani  upon  the 
scene,  who  recognizes  the  King  in  her 
assailant.  Carlos,  on  his  part,  recognizes 


ERNAN1  67 

the  outlaw  whom  he  has  formerly  de- 
frauded of  his  lands  and  titles,  and  a 
heated  dispute  arises  in  which  Ernani 
hurls  defiance  at  the  monarch.  Silva  now 
interposes  and  the  enraged  outlaw  offers 
to  fight  them  both,  but  is  restrained. 

ACT  II 

Hall  of  Silva's  Mansion.  Ernani  returns 
to  the  grandee's  home,  disguised  as  a 
pilgrim,  in  order  to  frustrate  the  wedding 
plans  of  Silva  with  his  niece.  He  pretends 
that  he  is  in  danger  and  Silva,  not  discov- 
ering his  identity,  grants  him  safe  harbor 
so  long  as  he  is  under  his  roof.  Later, 
Silva  surprises  him  in  an  interview  with 
Elvira  and  recognizes  him,  but  the  gran- 
dee's pledge  of  safety  holds  good  and  he 
postpones  his  personal  vengeance  till  a 
later  time.  Silva  will  not  even  yield  up 
the  bandit  to  the  King,  who  now  appears 
before  the  castle  walls.  The  monarch  is 
only  appeased  by  the  surrender  of  Elvira 
as  a  hostage.  When  the  royal  troops  are 
withdrawn,  Silva  releases  Ernani  and 
immediately  challenges  him  to  a  duel. 
Both  agree,  however,  to  postpone  their 


68  OPERA  SYNOPSES 

personal  differences  until  they  have  rescued 
Elvira.  The  outlaw,  on  his  part,  pledges 
himself  to  appear  at  any  time  that  Silva 
shall  sound  his  hunting  horn. 

ACT  III 

Charlemagne's  Tomb,  at  Aix-la-Cha- 
pelle.  While  Carlos  is  visiting  the  tomb  of 
the  great  emperor,  he  chances  to  overhear 
a  conspiracy  against  him.  Among  the  con- 
spirators are  Silva  and  Ernani.  The  royal 
guard  appears  and  the  King  steps  forth 
and  orders  the  arrest  and  execution  of  all 
present.  Ernani  then  declares  that  he  is 
Don  Juan  of  Aragon,  a  proscribed  noble- 
man, who  has  been  urged  on  to  this  course 
by  his  wrongs.  The  King's  magnanimity  is 
touched,  and  yielding  to  Elvira's  supplica- 
tions, he  forgives  the  conspirators  and  also 
bestows  the  lady's  hand  upon  Ernani. 

ACT  IV 

Don  Juan's  Castle.  Ernani  has  been 
restored  to  his  rank  and  ancestral  estates. 
His  cup  of  bliss  is  filled  by  his  marriage  to 
Elvira.  The  ceremony  has  just  been  com- 


ERNANI  69 

pleted,  when  the  ominous  sound  of  a  bugle 
is  heard.  It  is  Silva  come  to  exact  his 
pledge.  The  stern  old  grandee  silently 
enters  and  hands  a  dagger  to  Ernani,  who 
takes  it  without  protest  and  stabs  himself 
to  the  heart. 


FALSTAFF 


Comic  Opera  in  Three  Acts.  Music  by  Giuseppe 
Verdi.  Book  by  Arrigo  Boito, -after  "The  Merry 
Wives  of  Windsor,"  by  Shakespeare.  First  pro- 
duced at  the  Teatro  Alia  Scala,  Milan,  March 
12,  1893. 

SCENE  :     Windsor. 

TIME:    The  15th  Century. 


CAST 

SIR  JOHN  FALSTAFF,  a  soldier  of  fortune 

(Baritone). 

FORD,  a  citizen  of  Windsor  (Baritone). 
MISTRESS  ALICE  FORD,  his  wife  (Soprano). 
ANNE  FORD,  their  daughter  (Soprano) . 
MISTRESS  PAGE  (Soprano). 
MISTRESS  QUICKLY  (Contralto). 
FENTON,  suitor  of  Anne  (Tenor). 
DR.  CAIUS,  a  citizen  (Tenor). 
BARDOLPH,  a  follower  of  Falstaff  (Tenor). 
PISTOL,  a  follower  of  Falstaff  (Basso.) 
ROBIN,  a  Page. 

Innkeeper,  Townspeople,  Servants,  etc. 


71 


ARGUMENT 

Shakespeare's  comedy  has  been  closely 
followed  for  the  plot  of  "Falstaff"  which 
deals  with  the  misadventures  in  love  of  this 
fat  knight. 

ACT  I 

Scene  1.  A  Room  at  the  Garter  Inn. 
Falstaff,  the  doughty  knight  whose  prowess 
has  been  tested  on  the  battle-field  (if  his 
own  word  is  to  be  believed)  decides  to  try 
his  skill  in  the  lists  of  love.  He  therefore 
prepares  two  billets-doux  for  estimable 
wives  of  Windsor,  and  since  his  followers, 
Bardolph  and  Pistol,  balk  at  taking  them, 
he  sends  them  by  a  page.  He  also  quarrels 
with  Dr.  Caius,  who  complains  of  being 
robbed  by  Bardolph  and  Pistol. 

Scene  2.  Ford's  Garden.  Mistress  Ford 
and  Mistress  Page,  the  ladies  who  have 
received  the  epistles,  meet  and  compare 
them,  and  with  Mistress  Quickly  plan  to 
revenge  themselves  upon  the  sender.  Bar- 
dolph and  Pistol  confuse  their  plans  by  in- 
forming Ford  of  the  affair.  The  latter  is  to 
72 


FALSTAFF  73 


meet  Falstaff  in  disguise.  Meanwhile,  a 
plot  of  a  different  sort  is  afoot.  Ford  has 
planned  to  have  his  daughter  Anne  marry 
Caius,  but  she  is  in  love  with  Fenton,  who 
meets  her  clandestinely. 

ACT  II 

Scene  1.  The  Garter  Inn.  Dame  Quick- 
ly comes  to  the  inn  to  give  Falstaff  a  note 
from  Mistress  Ford,  apparently  yielding 
to  his  wishes  and  making  an  appointment 
for  that  afternoon.  After  she  departs, 
Ford  is  introduced  under  the  name  of 
Fountain,  who  pretends  that  he  is  a 
stranger  seeking  the  love  of  Mistress  Ford. 
Falstaff  readily  agrees  to  help  him  and 
states  complacently  that  he  has  an  engage- 
ment with  that  lady  for  this  very  day. 
Ford  has  heard  nothing  of  the  women's 
plot  and  is  both  astounded  and  jealous, 
but  dissembles  his  feelings. 

Scene  2.  Room  in  Ford's  House.  Fal- 
staff arrives  at  Mistress  Ford's  and  at  once 
begins  to  make  ardent  protestations  of 
love.  At  this  moment,  Dame  Quickly 
bustles  in  to  say  that  Ford  and  his  friends 
are  at  hand.  The  fat  knight  is  hastily 


74  OPERA  SYNOPSES 

thrust  behind  a  screen,  and  a  little  later 
when  the  search  begins  in  earnest,  he  is 
persuaded  to  hide  in  a  basket  of  soiled 
linen.  Meanwhile  Fenton  and  Anne  take 
refuge  behind  the  screen  for  a  little  love- 
making  on  their  own  account.  Ford 
returns  and  thinks  he  has  discovered  the 
villain  behind  the  screen,  and  is  greatly 
disgusted  when  the  young  lovers  come  to 
view.  While  the  search  proceeds,  Falstaff 
is  nearly  suffocated  in  the  basket.  The 
women,  ostensibly  to  rescue  him,  have  the 
basket  conveyed  to  the  river  brink  and  its 
entire  contents  dumped  into  the  water. 

ACT  III 

Scene  1.  The  Garter  Inn.  Dame  Quick- 
ly again  visits  the  crestfallen  knight  to 
express  her  sorrow  and  to  make  a  new 
appointment.  The  knight  again  falls  into 
the  trap.  Mistress  Ford  explains  the  whole 
hoax  to  her  husband,  and  he  promises  to 
aid  them  this  time.  Dr.  Caius  is  again 
promised  Anne's  hand,  and  Dame  Quickly, 
who  learns  of  it  runs  to  warn  the  lovers. 

Scene  2.  Windsor  Park.  Fenton  is 
aided  by  the  women,  who  disguise  him  as  a 


FALSTAFF  75 


monk.  Falstaff  again  meets  Mistress  Ford, 
but  is  interrupted  by  a  crowd  disguised  as 
witches,  elves,  and  fairies,  who  belabor 
the  knight  soundly.  He  begs  for  mercy 
and  at  his  promise  of  good  behavior,  Ford 
pardons  him.  Meanwhile,  Dr.  Caius  finds 
that  he  has  captured  the  wrong  person, 
and  Anne,  for  whom  he  has  sought,  enters 
with  Fenton.  Ford  is  persuaded  to  relent 
and  unite  the  two  lovers. 


FAUST 


Tragic  Opera  in  Five  Acts.  Music  by  Charles 
Gounod.  Book  by  Barbier  and  Carre",  after 
Goethe's  drama.  First  produced  at  the  Lyric 
Theatre,  Paris,  March  19,  1859. 

SCENE  :    A  German  Village. 
TIME:     The  18th  Century. 


CAST 

FAUST,  a  philosopher  (Tenor). 
MEPHISTOPHELES,  the  evil  one  (Basso). 
VALENTIN,  brother  of  Marguerite  (Baritone). 
BRANDER,  a  student  (Baritone). 
SIEBEL,  a  student  (Soprano). 
MARGUERITE,  a  village  girl  (Soprano). 
MARTHA,  her  servant  (Contralto). 

Students,  Soldiers,  Citizens,  Servants, 
Fiends,  Angels. 


77 


ARGUMENT 

This  version  of  the  Faust  legend  has  re- 
mained the  most  steadily  popular  of  all. 
It  follows  the  first  book  of  the  Goethe 
tragedy  faithfully  and  the  music,  although 
by  a  French  composer,  is  closely  in  har- 
mony with  its  spirit. 

ACT  I 

Faust's  Study.  The  philosopher  Faust 
has  spent  his  lifetime  in  study,  and  now 
feels  that  he  is  growing  old  and  that  there 
is  nothing  else  to  live  for.  He  resolves  to 
end  it  all  with  a  dose  of  poison,  but  his 
hand  is  stayed  by  the  sound  of  Easter 
carols.  Mephistopheles  enters  and  prom- 
ises him  a  new  lease  of  life  and  many  joys 
which  he  has  missed  if  he  will  sell  his  soul. 
The  fiend  then  shows  him  a  vision  of  Mar- 
guerite. Faust  consents  to  the  compact 
and  is  transformed  into  a  handsome  youth. 

ACT  II 

An    Open    Square.      A    festival    is    in 
progress,  and  students,  soldiers  and  citizens 
78 


FAUST  79 

wander  about  singing  and  making  merry. 
Valentin  has  enlisted  as  a  soldier  but  dis- 
likes to  go  away  leaving  his  sister,  Mar- 
guerite, unprotected.  Siebel,  a  boy,  prom- 
ises to  be  her  champion.  Mephistopheles 
now  joins  the  throng  of  merry-makers  and 
arouses  popular  interest  by  telling  fortunes. 
He  jests  with  Siebel  on  the  subject  of  Mar- 
guerite, and  Valentin  overhears  and 
resents  his  slurring  remark.  They  draw 
their  swords,  but  the  fiend  traces  a  circle 
of  fire  around  himself.  Valentin  and  his 
friends  hold  up  their  swords  like  crosses 
and  the  evil  one  slinks  away.  The  dance 
continues,  and  Faust  enters  and  offers  his 
arm  to  Marguerite,  but  she  repulses  him. 

ACT  III 

Marguerite's  Garden.  Siebel  brings  a 
bouquet  to  Marguerite,  but  the  flowers  fade 
until  he  dips  them  in  holy  water.  He  then 
leaves  them  on  the  doorstep  and  departs. 
Faust  and  Mephistopheles  now  enter,  the 
fiend  urging  Faust  to  press  his  suit.  Seeing 
the  flowers,  Mephistopheles  departs  to 
purchase  a  finer  present.  He  soon  returns 
with  a  casket  of  jewels  which  he  places 


80  OPERA  SYNOPSES 

beside  the  flowers  and  both  retire.  Mar- 
guerite enters  pondering  over  the  handsome 
young  gallant  she  saw  in  the  market-place. 
She  finds  the  casket  and  is  delighted  with 
the  glittering  gems,  but  does  not  wish  to 
keep  them.  Martha,  her  companion,  sees 
them  and  tells  her  she  would  be  foolish  to 
reject  them.  The  fiend  and  Faust  return, 
and  the  former  beguiles  Martha  into  a 
retired  corner  of  the  garden,  leaving  the 
coast  clear  for  Faust,  who  wooes  Mar- 
guerite so  ardently  and  persistently  that 
the  girl  yields  to  his  desires. 

ACT  IV 

Scene  1.  A  City  Street.  The  soldiers 
return  victorious  from  war,  among  them 
Valentin.  But  his  joy  at  seeing  his  sister 
again  gives  way  to  fury  when  he  learns 
that  she  has  been  betrayed.  At  dusk, 
Mephistophcles  and  Faust  approach  Mar- 
guerite's home  and  the  fiend  sings  a  mock- 
ing serenade.  Valentin  rushes  out  to 
avenge  his  sister's  wrongs  and  crosses 
swords  with  Faust,  but  the  latter,  aided  by 
the  evil  one,  gives  Valentin  his  death  blow. 
People  rush  in,  and  Marguerite  bends  over 


FAUST  81 

her  dying  brother,  only  to  hear  him  curse 
her  with  his  last  breath. 

Scene  2.  Interior  of  the  Church.  Mar- 
guerite goes  to  the  church  and  endeavors 
to  pray,  but  the  mocking  fiend  intrudes 
even  here  and  tells  her  she  is  damned  for- 
ever. She  falls  overcome  upon  the  floor. 

ACT  V 

Scene  1.  Walpurgis  Revel.  Mephisto 
conducts  Faust  to  the  witch  revels  of  Wal- 
purgis night,  but  Faust  orders  him  to  go  to 
the  succor  of  Marguerite.  (Scene  often 
omitted). 

Scene  2.  The  Prison  Cell.  Marguerite 
is  ill  and  half -mad,  awaiting  judgment  for 
her  misdeeds.  Faust  appears  to  her  and 
urges  her  to  cast  in  her  lot  with  him  and 
flee.  She  refuses  to  go  and  says  that  she 
will  submit  to  the  will  of  Heaven.  Faust 
and  the  fiend  both  urge  haste,  but  Mar- 
guerite kneels  in  prayer.  The  prison  walls 
open  and  angels  rescue  her  and  carry  her 
upward,  while  the  fiend  claims  Faust  as 
his  own. 


LA  FAVORITA 


(The  King's  Favorite).  Romantic  Opera  in  Five 
Acts.  Music  by  Gaetano  Donizetti,  Book  by 
Royer  and  Waetz,  after  the  drama,  "Le  Comte 
de  Commingues."  First  produced  at  the  Acade- 
mic Royale  de  Musique,  Paris,  December  2, 1840. 

SCENE  :    Castile. 
TIME:    1340. 


CAST 

ALFONSO  XI,  King  of  Castile  (Baritone). 
FERNANDO,  an  officer  of  the  guard  (Tenor) 
BALTHASAR,  Prior  of  the  Monastery  of  St. 

Jacob  (Basso). 
GASPARO,  an  officer  (Tenor). 
LEONORB    DE  GUZMAN,  the  King's  favorite 

(Mezzo-Soprano) . 
INEZ,  her  companion  (Soprano). 

Officers,  Soldiers,  Courtiers,  Ladies, 
Servants,  Monks. 


83 


ARGUMENT 

The  theme  of  "La  Favorita"  is  simple 
but  dramatic,  treating  of  lost  illusions  and 
blighted  hopes.  A  young  anchorite  for- 
sakes his  vows  for  the  sake  of  a  pretty  face, 
only  to  find  that  the  promised  happiness  is 
a  mirage. 

ACT  I 

Hall  of  a  Monastery.  Fernando,  a 
novice  in  orders,  of  the  Monastery  of  St. 
Jacob,  has  shown  such  earnestness  and 
insight  that  he  is  spoken  of  as  the  next 
prior.  But  between  him  and  his  vows 
comes  the  vision  of  a  beautiful  woman,  an 
unknown  whom  he  loves  and  who,  he  finds, 
loves  him  in  return.  He  confesses  his 
attachment  to  his  best  friend,  Balthasar, 
the  present  prior,  who  endeavors  to  warn 
him  against  the  snares  and  pitfalls  of  the 
world.  But  finding  that  the  young  man  is 
determined,  he  releases  him  from  the  mon- 
astic orders  and  bids  him  go  in  peace. 


84 


LA  FAVORITA  85 

ACT  II 

A  Palace  Garden.  Ferdinand  decides  to 
seek  service  in  the  royal  army.  He  comes 
blindfolded  into  the  palace  garden,  where 
ladies  of  the  court  who  have  heard  his 
story,  entertain  him  graciously.  Among 
them,  he  finds  his  unknown  love,  Leonore; 
but  while  she  reciprocates  his  affection,  she 
begs  him  to  go  away  and  forget  her.  She 
will  not  even  tell  him  her  name  and  station. 
This  mystery  only  adds  fuel  to  the  flame. 
While  she  tries  to  dismiss  him,  Inez,  her 
friend,  comes  to  announce  a  visit  from  the 
King.  This  still  further  mystifies  the 
young  man,  unused  to  court  ways.  Leon- 
ore  leaves  him,  after  presenting  him  with  a 
document  which  proves  to  be  a  royal  com- 
mission as  officer  in  the  King's  army. 
Ferdinand  resolves  to  win  the  King's 
favor  and  the  lady's  hand  in  the  wars. 

ACT  III 

The  King's  Court.  King  Alfonso  is  de- 
lighted with  news  of  his  army's  victories 
over  the  Moors,  and  with  the  brilliant  con- 
duct of  his  young  officer,  Ferdinand.  The 
latter  dreams  of  happiness  at  last  with 


86  OPERA  SYNOPSES 


Leonorc,  but  he  is  still  ignorant  of  the  fact 
that  she  is  the  King's  favorite  and  Alfonso 
does  not  intend  to  give  her  up.  A  spirited 
scene  ensues  between  monarch  and  mistress 
in  which  the  former  reiterates  his  devotion 
and  the  latter  reproaches  him  for  putting 
happiness  out  of  her  reach.  Before  the 
court  she  finally  hurls  defiance  at  him, 
being  aided  by  Balthasar,  who  comes  with 
a  message  from  the  Pope  threatening  the 
King  with  excommunication  unless  he 
relinquishes  Leonore  in  favor  of  Ferdinand. 
He  is  given  one  day  in  which  to  decide. 
Ferdinand  hears  nothing  of  this,  but 
Leonore  is  cast  into  the  depths  of  sorrow  at 
the  prospect  of  deceiving  her  lover. 

ACT  IV 

Apartment  in  the  Palace.  The  King 
yields  to  papal  pressure  and  to  Ferdinand's 
merit,  and  resolves  to  bestow  upon  him  the 
hand  of  his  favorite.  He  delivers  his  mes- 
sage to  Ferdinand  in  person,  who  is  over- 
joyed. Meanwhile,  Leonore  has  entrusted 
to  Inez  a  letter  telling  Ferdinand  all,  but 
Inez  is  prevented  from  delivering  it.  The 
King  ennobles  Ferdinand  and  orders  an 


LA  FAVORITA  87 

immediate  marriage,  which  ceremony  is 
performed.  But  during  the  festivities  the 
bridegroom  overhears  slurring  remarks 
from  the  courtiers,  and  returns  to  the  King 
demanding  an  explanation.  When  he 
learns  the  truth,  he  renounces  his  bride  and 
honors,  breaks  his  sword,  and  casts  its 
fragments  at  the  feet  of  the  King. 

ACT  V 

The  Monastery  Hall.  Ferdinand  returns 
to  the  monastery  and  resumes  his  study 
for  the  priesthood.  On  the  day  when  he  is 
to  receive  holy  orders,  Leonore  comes  to 
beg  his  forgiveness.  She  tells  him  of  the 
undelivered  letter  in  which  she  had  con- 
fessed the  truth  and  which  she  thought  he 
had  received.  He  forgives  her  and  says 
that  he  loves  her  still,  but  now  the  Church 
calls  him.  He  leaves  her  swooning  and 
joins  the  procession  of  monks. 


FIDELIO 


Dramatic  Opera  in  Two  Acts.  Music  by  Ludwig 
Van  Beethoven.  Book  by  Joseph  Sonnleittiner, 
after  Bouilly's  "Leonore."  First  produced  at 
the  Theatre  An  Der  Wien,  Vienna,  November 
20,  1805. 

SCENE  :    A  Prison  near  Seville. 
TIME:    The  18th  Century. 


CAST 

DON  FERNANDO,  minister  of  state  (Baritone). 
DON  PIZARRO,  governor  of  prison  (Baritone). 
DON  FLORESTAN,  a  noble  prisoner  (Tenor). 
LEONORA,  his  wife,  known  as  "Fidelio" 

(Soprano). 

Rocco,  jailer  (Basso). 
MARCELLINA,  his  daughter  (Soprano). 
JACQUINO,  turnkey  (Tenor). 
CAPTAIN  OF  THE  GUARD  (Basso). 

Prisoners,  Guards,  Citizens,  etc. 


89 


ARGUMENT 

"Fidelio,"  the  only  opera  written  by 
Beethoven,  has  been  subjected  to  several 
changes.  It  was  originally  in  three  acts, 
and  the  composer  wrote  four  different 
overtures  for  it.  The  book  is  a  simple 
story  of  conjugal  love  and  fidelity. 

ACT  I 

Courtyard  of  the  Prison.  Don  Florestan, 
a  Spanish  nobleman,  incurs  the  hatred  of 
Don  Pizarro,  governor  of  the  prison,  and 
soon  disappears  from  the  world.  Flores- 
tan's  wife,  Leonora,  suspects  that  his 
enemy  has  hidden  him  away  in  one  of  the 
prison  dungeons,  and  disguises  herself  as  a 
young  man  known  as  "Fidelio,"  in  order 
to  rescue  him.  She  enters  service  with 
Rocco,  the  jailer,  and  soon  finds  her  hus- 
band, as  she  had  feared.  Meanwhile,  she 
is  in  danger  of  discovery,  as  she  wins  the 
approval  of  the  jailer  and  his  daughter, 
Marcellina,  and  the  latter  falls  in  love  with 
the  handsome  "young  man,"  much  to  the 
90 


FIDELIO  91 

sorrow  of  the  turnkey  Jacquino,  who 
loves  Marcellina.  Fidelio  cannot  refuse 
the  proffered  match  as  she  desires  to  keep 
on  good  terms  with  the  jailer.  Word  is  re- 
ceived that  the  minister,  Don  Fernando, 
is  coming  to  inspect  the  prison.  This  fills 
Pizarro  with  alarm  and  he  resolves  to  put 
Florestan  out  of  the  way  before  that  time. 
Rocco  refuses  to  kill  the  prisoner,  but 
finally  consents  to  dig  the  grave.  Fidelio 
overhears  the  plans  and  is  in  despair.  She 
obtains  the  jailer's  permission  for  the  pris- 
oners to  file  out  into  the  courtyard  to  get 
the  fresh  air.  She  hopes  thus  to  get  some 
message  to  her  husband,  but  he  docs  not 
appear  with  the  rest,  so  she  accompanies 
Rocco  to  dig  the  grave. 

ACT  II 

Scene  1.  Florestan's  Dungeon.  In  one 
of  the  lowest  cells  of  the  prison,  Fidelio 
finds  her  husband  weak  from  exhaustion. 
He  does  not  recognize  her.  She  gives  him 
food  and  drink,  and  with  simulated  cheer- 
fulness helps  to  dig  the  grave.  Before  the 
task  is  ended,  Pizarro  comes  down  eager 
to  get  his  dangerous  prisoner  out  of  sight. 


92  OPERA  SYNOPSES 

The  minister  is  coming.  Pizarro  is  about 
to  stab  the  prisoner,  when  Fidelio,  or 
Leonora,  throws  herself  in  front  of  him 
crying:  "First  slay  his  wife!"  She 
menaces  him  with  a  pistol  and  the  cowardly 
governor  flees.  Trumpets  from  without 
announce  the  arrival  of  Don  Fernando, 
while  Florestan  clasps  his  wife  in  his  arms 
and  Rocco  scratches  his  head  in  bewilder- 
ment. 

Scene  2.  The  Courtyard.  Fernando 
quickly  frees  Florestan,  and  the  chains  are 
ordered  upon  Pizarro  instead.  The  min- 
ister felicitates  with  the  rescued  man  in 
having  a  "Fidelio"  for  his  wife.  Marcel- 
lina  decides  that  Jacquino  will  make  her  a 
better  husband,  after  all,  greatly  to  the 
turnkey's  delight. 


THE  FLYING  DUTCHMAN 


(Der  Fliegende  Hollander).  Romantic  Opera  in 
Three  Acts.  Music  by  Richard  Wagner.  Book 
by  the  Composer,  after  Heine's  Version  of  the 
Legend.  First  produced  at  Dresden,  January 
2,  1843. 

SCENE  :    A  Norwegian  Fishing  Village. 
TIME:    The  18th  Century. 


CAST 

A  DUTCH  SEA  CAPTAIN  (Baritone). 
D  ALAND,  a  Norse  Sea  Captain  (Basso). 
SENT  A,  his  daughter  (Soprano). 
MARY,  her  servant  (Contralto). 
ERIC,  a  huntsman  (Tenor). 
DALAND'S  STEERSMAN  (Tenor). 

Chorus  of  Maidens,  Seamen,  Villagers,  etc. 


93 


ARGUMENT 

The  legend  of  "  The  Flying  Dutchman," 
condemned  to  sail  the  high  seas  for  many 
centuries,  finds  a  worthy  musical  and  dra- 
matic setting  in  this  work  of  Wagner.  Ac- 
cording to  this  legend,  a  Dutch  captain 
foiled  by  contrary  winds  when  rounding 
the  Cape  of  Good  Hope,  takes  a  sacreligious 
oath  that  he  will  succeed  if  he  has  to  take 
eternity  for  it.  Thereafter,  for  long  cen- 
turies his  ship  is  in  charge  of  demons,  who 
make  it  the  sport  of  wind  and  wave.  The 
opera  deals  with  the  lifting  of  the  curse. 

ACT  I 

A  Bay  in  Norway.  Daland,  a  Norwegian 
sea  captain,  is  driven  by  a  violent  storm  to 
the  shelter  of  a  port.  During  the  storm  a 
strange-looking  vessel  also  arrives,  riding 
high  upon  the  waves,  and  casts  anchor 
alongside.  The  captain,  a  man  of  wild 
aspect  dressed  in  black,  steps  ashore.  He 
is  the  famous  Flying  Dutchman,  whom  all 
mariners  fear  and  dread.  By  the  terms  of 
94 


THE  FLYING  DUTCHMAN  95 

his  oath,  he  is  allowed  to  go  ashore  once  in 
seven  years,  and  if  perchance  he  find  a  wife 
who  will  leave  all  for  love  of  him,  the  spell 
will  be  released.  He  speaks  with  Daland 
and  finding  that  the  latter  has  a  daughter, 
asks  permission  to  sue  for  her  hand,  at  the 
same  time  offering  Daland  gold.  The 
father's  cupidity  overcomes  his  scruples 
and,  the  storm  having  abated,  the  two 
vessels  set  sail  in  company. 

ACT  II 

Interior  of  Daland's  Home.  Senta  and 
her  girl  friends  are  seated  at  their  spinning 
wheels,  singing.  Senta  is  a  dreamy,  ro- 
mantic girl,  who  is  already  familiar  with 
the  strange  story  of  the  Flying  Dutchman, 
and  feels  in  her  heart  that  she,  at  any  rate, 
would  be  willing  to  give  up  all  to  save  him. 
She  tells  the  others  of  her  mood,  and  Eric 
the  huntsman,  who  loves  her,  enters  at 
this  moment  and  warns  her  against  her 
dangerous  whim.  He  also  tells  her  that  a 
mysterious  stranger  is  approaching  with 
her  father,  but  Senta  is  delighted  and  Eric 
leaves  in  dejection.  Daland  enters  with 
the  Dutchman,  who  gazes  fixedly  at  the 


96  OPERA  SYNOPSES 

maiden  and  she  at  him.  She  readily 
accepts  her  father's  plan  for  an  early  mar- 
miage,  as  she  believes  herself  to  be  divinely 
appointed  the  savior  of  this  sea  rover. 
The  two  exchange  vows  of  eternal  fidelity, 
and  the  Dutchman  believes  his  hour  of 
liberation  is  at  hand. 

ACT  III 

The  Harbor.  The  sailors  on  board 
Daland's  ship  give  themselves  over  to 
merry-making.  Girls  bring  them  hampers 
of  refreshments.  The  Dutchman's  ship 
lies  hard  by,  dark  and  silent,  although  his 
crew  has  been  invited  to  share  in  the  fes- 
tivities. Finally  they  sing  a  mocking  song 
of  their  captain's  adventures,  while  the 
others  listen  in  superstitious  fear.  Senta 
comes  down  to  the  shore  followed  by  Eric, 
who  makes  one  last  plea  for  her  to  relin- 
quish her  folly  and  love  him  as  she  had 
formerly  done.  The  stranger  overhears 
this  and  believing  himself  betrayed,  bids 
her  farewell  and  hastens  on  board  his  ship, 
ordering  the  anchor  raised  and  all  sails  set. 
He  admits  publicly  that  he  is  the  Flying 
Dutchman,  upon  whom  a  curse  rests,  and 


THE  FLYING  DUTCHMAN  97 

while  Daland  and  the  rest  shrink  back  in 
horror  the  ship  heads  toward  the  open  sea. 
But  Senta  tears  herself  away  from  Eric 
and  her  father,  who  would  restrain  her,  and 
rushing  to  a  cliff  under  which  the  vessel  is 
passing,  casts  herself  into  the  sea,  faithful 
unto  death  as  she  has  promised.  Instantly 
the  curse  is  lifted,  the  phantom  ship  sinks, 
and  the  Dutchman  and  his  bride  are  seen 
ascending  upward. 


FRA  DIAVOLO 


(Or,  The  Inn  of  Terracina.)  Light  Opera  in  Three 
Acts.  Music  by  Daniel  Francois  E.  Auber. 
Book  by  Eugene  Scribe.  First  produced  at  the 
Opera  Comique,  Paris,  January  28,  1830. 

SCENE:     A  Terracine  Village. 
TIME:    The  19th  Century. 


CAST 

FRA  DIAVOLO,  a  bandit  chief  (Tenor). 
LORD  COCKBURN,  an  English  tourist  (Basso). 
LADY  PAMELA  COCKBURN,  his  wife  (Mezzo- 
Soprano). 

LORENZO,  an  officer  of  the  guard  (Tenor). 
MATTEO,  a  tavern-keeper  (Basso). 
ZERLINE,  his  daughter  (Soprano). 
FRANCESCO,  a  miller  (Baritone). 
GIACOMO,  a  bandit  (Basso). 
BEPPO,  a  bandit  (Tenor). 

Bandits,  Villagers,  Servants,  etc. 


99 


ARGUMENT. 

"Fra  Diavolo,"  one  of  the  most  tuneful 
of  the  light  operas,  is  written  around  the 
adventures  of  a  famous  Italian  bandit,  the 
terror  of  the  countryside.  Despite  the 
heavy  reward  offered  for  his  capture,  he 
remains  at  liberty  by  adopting  numerous 
disguises.  In  the  present  adventure  he 
travels  under  the  name  of  the  Marquis  of 
San  Marco. 

ACT  I 

Matteo's  Tavern.  The  Roman  author- 
ities have  offered  a  reward  of  ten  thousand 
piastres  for  the  capture  of  Fra  Diavolo, 
the  robber.  Lorenzo,  an  officer,  is  sent  with 
a  company  of  guards  and  hopes  to  win  this 
reward,  and  also  the  hand  of  Zerline,  the 
pretty  daughter  of  the  innkeeper.  Lorenzo 
proclaims  the  reward  at  the  inn.  Soon 
after,  Lord  and  Lady  Cockburn,  English 
travellers,  enter,  saying  that  they  have 
been  robbed.  Lord  Cockburn  has  another 
grievance  in  the  over-zealous  attentions  of 
a  travelling  companion,  the  Marquis  of 
San  Marco,  to  his  wife.  The  Marquis 
100 


FRA  DIAVOLO  101 


arrives,  not  at  all  disturbed  by  the  con- 
tretemps, and  orders  a  hearty  dinner,  while 
hearing  Zerline  relate  stories  of  the  cele- 
brated bandit  chief.  He  again  devotes  his 
attention  to  Lady  Pamela,  and  purloins 
from  her  a  valuable  locket.  Lorenzo  and 
his  guards  now  return  with  news  that  the 
robber  band  has  been  dispersed. 

ACT  II 

Zerline's  Bedroom.  The  English  travel- 
lers are  shown  to  their  apartments,  which 
adjoin  the  bed-chamber  of  Zerline.  The 
girl,  as  she  makes  their  rooms  ready,  is  in 
high  spirits  over  the  success  of  her  lover, 
Lorenzo.  Meanwhile,  Fra  Diavolo  and 
two  of  his  gang  hide  themselves  in  Zerline's 
room.  She  returns  and  prepares  for  bed 
oblivious  of  their  presence.  After  she  has 
fallen  asleep,  the  trio  proceed  to  finish  the 
job  of  robbing  the  English  couple.  They 
are  detected  and  an  alarm  follows.  Lor- 
enzo and  his  guards  appear,  but  Fra 
Diavolo,  as  the  Marquis,  covers  the  retreat 
of  his  two  men.  But  the  jealousy  of  both 
the  nobleman  and  the  soldier  is  aroused 
by  the  presence  of  the  supposed  Marquis 
in  the  sleeping  apartments.  To  cover  his 


102  OPERA  SYNOPSES 

designs,  the  latter  declares  that  he  had  an 
appointment  with  Zerline.  Lorenzo  chal- 
Ignges  him  to  fight  a  duel,  and  the  bandit 
agrees  to  give  him  satisfaction  on  the  fol- 
lowing day. 

ACT  III 

In  the  Forest.  Fra  Diavolo  has  resumed 
his  own  name  and  dress  and  exults  in  the 
fact  that  he  is  his  own  master  once  more. 
While  awaiting  the  English  travellers  or 
whoever  else  may  cross  his  path,  a  wedding 
procession  approaches.  Zerline  is  to  be 
married  against  her  will  to  Francisco,  a 
well-to-do  peasant.  In  the  procession  are 
the  two  escaped  bandits,  who  are  recog- 
nized by  Lorenzo  and  used  by  him  to  lure 
Fra  Diavolo  into  an  ambush.  The  strat- 
agem is  successful  and  the  chief  is  slain, 
but  at  the  last  he  is  generous  enough  to 
declare  Zerline's  innocence.  The  English 
couple  are  amazed  to  find  that  he  is  one 
and  the  same  with  their  acquaintance  the 
Marquis.  Especially  is  Lady  Pamela 
chagrined  over  her  folly.  The  successful 
Lorenzo  claims  and  receives  both  rewards 
for  which  he  has  striven,  to  his  own  joy 
and  that  of  Zerline. 


DER  FREISCHUTZ 


Romantic  Opera  in  Three  Acts.  Music  by  Carl 
Maria  Von  Weber.  Book  by  Friedrich  Kind, 
after  an  old  legend  in  "Popular  Tales  of  the 
'Northern  Nations.'  "  First  produced  at  Berlin, 
June  18,  1821. 

SCENE  :    Bohemia. 
TIME:    The  Middle  Ages. 


CAST 

OTTAKAR,  Duke  of  Bohemia  (Baritone) . 
KUNO,  his  head  game-keeper  (Basso). 
AGNES,  his  daughter  (Soprano). 
ANNA,  her  friend  (Mezzo-Soprano). 
MAX,  a  ranger  (Tenor). 
CASPAR,  a  ranger  (Basso). 
KILIAN,  a  wealthy  peasant  (Tenor). 
A  HERMIT  (Basso). 
ZAMIEL,  the  evil  one  (Speaking  part). 

Foresters,  Villagers,  Followers  of  the  Duke 
Servants. 


103 


ARGUMENT 

The  story  of  "  Der  Freischiitz,"  or  "  The 
Sharpshooter,"  is  based  upon  a  Teutonic 
legend  that  magical  bullets  may  be  cast 
which  never  miss  their  mark. 

ACT  I 

Estates  of  the  Prince  of  Bohemia.  The 
advancing  years  of  Kuno,  head  ranger  of 
the  Duke  of  Bohemia,  make  the  choice  of  a 
new  head  ranger  necessary.  Max,  who  is 
in  love  with  Agnes,  Kuno's  daughter,  is  a 
candidate  for  the  place,  but  in  order  to 
obtain  it  he  must  win  in  a  sharp-shooting 
contest.  At  a  preliminary  trial,  Max  is 
unsuccessful,  the  peasant,  Kilian,  being 
the  better  marksman.  Max  is  much  cast 
down  and  therefore  disposed  to  listen  to 
the  evil  counsels  of  Caspar,  who  has  already 
sold  himself  to  the  devil  and  who  hopes  to 
obtain  respite  by  furnishing  this  new 
victim.  Max  is  invited  to  try  Caspar's 
gun,  and  is  astonished  to  find  that  he  can 
bring  down  an  eagle  from  a  great  height. 
Caspar  then  tells  him  that  he  can  obtain 
104 


DER  FREISCHUTZ  105 

seven  magical  bullets  which  will  hit  any 
mark,  but  he  must  sell  his  soul  for  them. 
Max,  undaunted,  agrees  to  meet  him  at  the 
Wolf's  Glen  at  midnight. 

ACT  II 

Scene  1.  Agnes'  Room.  Agnes  is  filled 
with  forebodings  over  the  coming  contest. 
She  has  met  a  hermit  in  the  forest,  who 
has  warned  her  of  impending  danger. 
Then  while  she  and  Anna  are  in  her  room, 
at  the  very  moment  when  Max  tries  the 
magic  bullet,  an  ancestral  portrait  falls 
to  the  floor.  Anna  tries  to  calm  her  fears. 
She  is  not  reassured  when  Max  arrives  and 
tells  her  he  must  hurry  away  to  an  appoint- 
ment at  the  Wolf's  Glen. 

Scene  2.  The  Wolf's  Glen.  Caspar 
awaits  the  arrival  of  his  victim  and  mean- 
while tells  Zamiel,  the  evil  one,  of  his 
success.  When  Max  arrives  the  incanta- 
tions are  under  way,  and  amid  scenes  of 
terror  the  magical  bullets  are  cast. 

ACT  III 

Scene  1.  Agatha's  Room.  Agatha  is 
being  prepared  for  her  wedding  with  Max. 


106  OPERA  SYNOPSES 

She  is  still  filled  with  foreboding,  which  is 
not  lessened  by  finding  that  a  box  of  flowers 
contains  a  funeral  wreath.  She  is  com- 
forted, however,  by  a  bridal  wreath  which 
the  holy  hermit  has  blessed. 

Scene  2.  Duke  Ottakar's  Camp.  The 
marksman's  tourney  is  in  progress,  and 
Max  astonishes  all  the  spectators  by  his 
skill.  Only  one  remains  of  his  store  of 
magical  bullets,  and  this  one  the  fiend 
has  in  personal  charge.  The  Duke  orders 
Max  to  shoot  at  a  dove  flying  through  the 
forest.  He  obeys  and  a  woman's  shriek  is 
heard.  Agnes  in  her  wedding  finery  has 
been  struck;  but  she  revives  and  it  is 
found  that  the  wreath  blessed  by  the 
hermit  has  turned  the  bullet  aside.  The 
fiend  cheated  of  his  prey  seizes  upon  the 
cursing  Caspar  whose  day  of  grace  has  ex- 
pired. The  horrified  Max  tells  the  story  of 
the  bullets  and  confesses  his  fault,  where- 
upon the  Duke  imposes  a  year  of  penance 
before  he  can  receive  the  post  of  head 
ranger  or  the  hand  of  his  bride. 


GERMANIA 

Dramatic  Opera  in  Four  Acts.  Music  by  Alberto 
Franchetti.  Book  by  Luigi  Illica.  First  pro- 
duced at  Milan,  1902. 

SCENE:    Various  parts  of  Germany. 
TIME:  1806. 

CAST 

FREDERICK  LOEWE,  member  of  the  Brotherhood 
(Tenor). 

CARL  WORMS,  member  of  the  Brotherhood 
(Baritone). 

GIOVANNI  PALM,  member  of  the  Brotherhood 
(Basso). 

CRISOGONO,  member  of  the  Brotherhood 
(Baritone). 

STAFFS,  a  Protestant  priest  (Basso). 

RICKE,  a  Nuremberg  maiden  (Soprano). 
JANE,  her  sister  (Mezzo-Soprano). 

LENA  ARMTJTH,  a  peasant  woman  (Mezzo- 
Soprano). 

JEBBEL,  her  nephew  (Soprano). 

LUIGI  LUTZOW,  an  officer  (Basso). 

CARLO  KORNER,  an  officer  (Tenor). 

PETERS,  a  herdsman  (Basso). 

SIGNORA  HEDVIGE,  (Mezzo-Soprano). 

CHIEF  OP  POLICE,  (Basso). 

Police,  Students,  Soldiers,  Peasants,  Histor- 
ical Personages. 

107 


ARGUMENT 

"  Germania  "  is  a  picture  of  the  upheaval 
in  Germany  caused  by  the  Napoleonic 
wars. 

ACT  I 

An  Old  Mill  at  Nuremberg.  The  revolu- 
tionists have  converted  an  old  mill  at 
Nuremberg  into  a  printing  shop  for  their 
literature.  Palm,  the  author  of  some  of 
this,  is  sought  by  the  police,  but  unsuccess- 
fully. Meanwhile,  books  and  pamphlets 
are  sent  out  as  bags  of  flour.  Worms,  who 
is  in  charge  of  the  press,  is  visited  by  Ricke, 
who  accuses  him  of  betraying  her.  She 
is  especially  downcast  as  a  letter  just  re- 
ceived announces  the  early  return  of 
Loewe,  her  lover.  Worms  threatens  his 
vengeance  if  she  tells  Loewe  of  their  rela- 
tions. 

ACT  II 

The  Black  Forest.     Loewe,  Ricke  and 
others  seek  refuge  in  a  hut,  Loewe  having 
been  among  those  proscribed  by  the  vic- 
108 


GERMANIA  109 


torious  Napoleon.  Ricke  has  consented  to 
marry  Loewe,  not  daring  to  tell  him  of 
Worms.  Immediately  after  the  simple 
ceremony  uniting  them,  Worms  appears 
and  summons  Loewe  to  attend  a  meeting  of 
the  secret  brotherhood.  Worms  will  not 
tarry,  and  Ricke,  in  terror  of  consequences, 
flees  away,  leaving  a  note  for  the  bride- 
groom telling  him  not  to  follow  her.  The 
bewildered  Loewe  is  finally  apprised  of  the 
true  state  of  affairs  by  Ricke's  little  sister 
Jane. 

ACT  III 

A  Secret  Hall  at  Koenigsberg.  The 
patriots  meet  with  the  utmost  secrecy  and 
lay  plans  to  defeat  the  invader  of  their 
country.  Only  one  standing  apart,  masked, 
jeers  at  their  motives.  He  proves  to  be 
Loewe,  who  now  challenges  Worms  to 
fight.  The  latter,  however,  refuses  to 
defend  himself,  and  others  interpose  to 
stop  the  quarrel. 

ACT  IV 

The  Battlefield  of  Leipzig.  The  plain  is 
covered  with  prostrate  forms  after  the 


110  OPERA  SYNOPSES 

great  battle  has  been  fought.  Ricke  seeks 
among  them  for  the  husband  she  has 
deserted,  and  finally  finds  him  not  far  away 
from  the  corpse  of  Worms.  Loewe  is 
barely  alive,  and  soon  expires  in  Ricke's 
arms,  but  she  makes  no  outcry  as  she  lies 
down  beside  him.  In  life  all  things  con- 
spired to  keep  them  apart;  but  in  death 
they  can  be  united. 


LA  GIOCONDA 

Dramatic  Opera  in  Four  Acts.  Music  by  Amilcare 
Ponchielli.  Book  by  Tobia  Garrio,  after  Hugo's 
Tragedy,  "Angelo,  the  Tyrant  of  Padua."  First 
produced  at  the  La  Scala  Opera  House,  Milan, 
April  8,  1876. 

SCENE  :    Venice. 

TIME:    The  17th  Century. 


CAST 

LA  GIOCONDA,  a  street  singer  (Soprano). 
LA  CIECA,  her  blind  mother  (Contralto). 
ALVISE  BADOERO,  an  inquisitor  (Basso). 
LAURA,  his  wife  (Mezzo-Soprano). 
ENZO  GRIMALDO,  a  Genoese  noble  (Tenor). 
BARN  ABA,  a  spy  (Baritone). 
ZUANE,  a  boatman  (Basso) . 
ISEPO,  a  scribe  (Tenor). 
A  PILOT  (Basso). 

Ladies,  Senators,  Masqueraders,  Sailors, 
Monks,  Citizens,  Servants. 


Ill 


ARGUMENT 

"La  Gioconda"  is  a  swiftly-moving 
Venetian  tale  of  love,  intrigue,  jealousy, 
and  crime. 

ACT  I 

Court  of  the  Ducal  Palace.  Called  "  The 
Lion's  Mouth,"  because  of  a  receptacle  into 
which  letters  intended  for  the  Inquisition 
are  dropped.  Leading  her  blind  mother, 
the  beautiful  La  Gioconda,  a  street  singer, 
enters  the  ducal  square  just  as  a  chorus  of 
merrymakers  have  deserted  it.  She  is  in 
search  of  Enzo  a  nobleman  with  whom  she 
is  in  love.  But  the  spy  Barnaba  bars  her 
way,  and  when  she  repulses  his  advances  he 
takes  revenge  by  stirring  up  the  populace 
against  her  mother,  La  Cieca,  charging  her 
with  being  a  sorceress.  The  latter  is 
rescued  by  Laura,  the  Inquisitor's  wife, 
once  the  sweetheart  of  Enzo.  The  latter 
who  has  come  upon  the  scene  also  recog- 
nizes Laura,  and  the  spy,  noting  their  ex- 
change of  glances,  plots  a  new  piece  of 
villainy.  He  arranges  a  meeting  between 
them  on  board  Enzo's  ship,  and  at  the  same 
112 


LA  GIOCONDA  113 

time  sends  word  to  Laura's  husband  of  the 
adventure.  La  Gioconda  also  learns  of  the 
meeting. 

ACT  II 

On  Board  Enzo's  Ship.  This  act  is  called 
"  The  Rosary  "  from  the  fact  that  La  Cieca 
has  given  Laura  a  rosary  in  token  of  grati- 
tude and  it  plays  a  further  part  in  the 
action.  While  Barnaba  gloats  over  the 
success  of  his  scheme  Enzo  comes  on  deck 
and  greets  Laura  who  arrives  in  a  boat. 
The  two  renew  their  pledges  of  love.  Gio- 
conda who  has  hidden  on  board  now  comes 
forward  with  a  dagger  resolved  to  stab  her 
rival,  but  Laura  holds  up  the  rosary  given 
by  Gioconda's  mother,  and  the  street  sing- 
er, recognizing  it,  resolves  to  save  rather 
than  slay  her.  Gioconda  advises  her  that 
Alvise,  the  outraged  husband,  is  near  at 
hand  and  aids  her  to  escape  in  her  (Gio- 
conda's) boat.  Seeing  his  ship  surrounded, 
Enzo  sets  fire  to  it. 

ACT  III 

The  House  of  Gold.  Alvise  is  deter- 
mined to  avenge  himself  upon  his  unfaith- 
ful wife  and  tells  her  she  must  die  by  poison. 
Deaf  to  her  entreaties  he  hands  her  a  vial 


114  OPERA  SYNOPSES 

and  bids  her  drain  it  before  his  return. 
Gioconda  enters  and  substitutes  a  sleeping 
potion,  and  Laura  is  soon  stretched  upon 
the  death  couch  pale  and  apparently  life- 
less. The  grand  ball  which  Alvise  has  been 
giving  now  continues  with  furious  gayety, 
and  at  the  last  he  draws  apart  the  curtains 
concealing  the  death  couch  and  reveals  the 
form  of  Laura.  Enzo  rushes  forward  to 
attack  Alvise  but  is  disarmed.  Barnaba 
is  placed  over  him  as  a  guard,  and  Gioconda 
now  tells  the  spy  that  if  he  will  release  him, 
she  will  agree  to  his  desires.  Barnaba  does 
so. 

ACT  IV 

A  Ruined  Palace.  While  Gioconda  sits 
alone  and  dejected,  the  unconscious  form  of 
Laura  is  borne  in.  Gioconda  fights  an  in- 
ward battle  as  to  whether  she  shall  kill  or 
resuscitate  her  helpless  rival.  She  finally 
resolves  to  kill  herself.  Enzo  comes  in  and 
she  tells  him  that  Laura  has  been  saved. 
Overjoyed  he  hastens  to  the  couch,  hear- 
ing the  voice  of  Laura.  Barnaba  enters  to 
claim  Gioconda  as  she  has  promised,  and  in 
reply  she  stabs  herself,  falling  lifeless  at  his 
feet. 


THE   GIRL   OF  THE 
GOLDEN  WEST 


(La  Fanciulla  del  West).  Romantic  Opera  in 
Three  Acts.  Music  by  Giacomo  Puccini.  Book 
by  David  Belasco.  First  produced  at  the  Metro- 
politan Opera  House,  New  York,  December  10 
1910. 

SCENE:    A  California  Mining-camp. 
TIME:    1848. 


CAST 

MINNIE,  a  Western  girl  (Soprano). 

JACK  RANGE,  the  sheriff,  a  gambler  (Baritone). 

JOHNSON,  alias  Ramarrez,  an  outlaw  (Tenor). 

DICK,  a  servant  (Tenor). 

LARKINS  (Baritone). 

HARHY  (Baritone). 

Miners,  Bandits,  Servants,  Indians,  etc. 


115 


ARGUMENT 

"The  Girl  of  the  Golden  West"  is  a 
romantic  and  colorful  picture  of  Western 
pioneer  life,  which  was  successful  as  a 
drama,  before  being  given  a  musical  setting. 
The  days  of  the  gold  fever  on  the  Pacific 
slope  and  of  the  rough  and  ready  justice 
there  accorded  are  here  illustrated. 

ACT  I 

The  Polka  Bar.  Minnie,  a  resourceful 
"girl  of  the  Golden  West,"  left  an  orphan, 
continues  to  run  her  father's  bar-room  for 
the  benefit  of  the  miners  who  flock  to  the 
newly-discovered  gold-diggings  of  Cali- 
fornia. Minnie  herself  can  gamble  and 
shoot  with  the  best  of  them  if  necessary, 
but  she  is  treated  as  a  sort  of  ward  by  the 
camp  whom  it  would  be  sudden  death  to 
insult.  While  her  friends  the  miners  are 
congregated  at  her  bar  a  wandering  min- 
strel halts  outside  and  sings  of  the  "Old 
Folks  at  Home,"  moving  some  of  them  to 
tears.  Then  Minnie  sings  a  love  song  which 
also  arouses  the  sentiment  of  her  hearers. 
116 


THE  GIRL  OF  THE  GOLDEN  WEST      117 

During  the  singing,  Jack  Ranee,  the  sheriff, 
who  is  also  a  gambler  and  who  has  long 
loved  Minnie,  enters.  He  pleads  his  love, 
but  she  will  not  listen  to  him. 

The  mountains  back  of  the  camp  have 
been  overrun  for  some  time  by  a  band  of 
outlaws  under  the  leadership  of  Ramarrez. 
The  miners  have  offered  large  rewards  for 
their  extermination,  but  the  outlaws  are  so 
bold  and  careless  that  they  plan  a  robbery 
in  the  camp.  Their  leader  comes,  under 
the  name  of  Johnson,  to  the  Polka  bar  in 
order  to  look  over  the  ground  and,  in  the 
evening,  give  the  signal  to  his  men.  But 
becoming  fascinated  by  the  girl,  he  lingers 
to  make  love  to  her  and  offers  to  escort  her 
to  her  home.  She  is  also  interested  in  him 
and  accepts  his  attentions. 

ACT  II 

Interior  of  Minnie's  Cabin.  The  two 
Indian  servants  of  Minnie  crouch  in  one 
corner,  while  she  listens  pleased  to  John- 
son's declarations  of  love.  A  noise  is  heard 
outside  the  door  and  Minnie  discovers 
Ranee  at  the  head  of  a  posse.  Not  caring 
to  have  them  find  a  man  at  her  home  she 


118  OPERA  SYNOPSES 

conceals  Johnson,  who  is  only  too  willing  to 
go  into  hiding;  then  she  opens  the  door. 
Ranee  tells  her  that  they  are  searching  for 
a  notorious  bandit  who,  they  have  reason 
to  believe,  is  concealed  on  the  premises. 
Minnie  indignantly  disclaims  knowledge  of 
any  such  person,  but  after  the  posse  has 
gone  away  she  turns  upon  Johnson  and  up- 
braids him  for  deceiving  her.  The  outlaw 
tells  her  that  he  has  been  reared  to  this  life, 
but  after  seeing  her  he  is  ready  to  reform. 
She  will  not  listen  to  him,  however,  and  he 
leaves  the  cabin.  A  few  paces  from  the 
door  a  shot  is  heard.  Ranee  has  remained 
in  hiding  and  now  seriously  wounds  him. 
Johnson  drags  himself  back  to  the  cabin 
and  Minnie,  touched  by  his  plight,  conceals 
him  in  the  loft.  Ranee  returns  and  de- 
mands the  fugitive.  Minnie  again  denies 
knowledge  of  his  whereabouts,  but  a  few 
drops  of  blood  trickling  down  from  above 
betray  him.  In  desperation  Minnie  offers 
to  play  a  game  of  poker,  the  stakes  to  be 
the  outlaw  against  her  love.  The  gambling 
spirit  of  Ranee  is  aroused  and  they  play. 
Minnie  cheats  with  the  cards  and  wins. 
Ranee  respects  his  agreement  and  departs. 


THE  GIRL  OF  THE  GOLDEN  WEST       119 

ACT  III 

In  the  Redwood  Forest.  Minnie  nurses 
Johnson  back  to  health  and  he  promises  to 
disperse  his  gang  and  go  to  another  State, 
there  to  live  an  honest  life.  Ranee,  hearing 
that  he  has  recovered  from  his  wound  and 
is  now  on  his  way  to  join  the  outlaws, 
summons  his  posse  and  captures  him.  The 
miners  promise  him  short  shrift  at  the  end 
of  a  rope,  and  are  preparing  to  lynch  him 
from  the  first  convenient  tree,  when  Minnie 
rushes  forward.  She  pleads  with  the 
miners,  telling  them  of  Johnson's  refor- 
mation, and  by  her  influence  persuades 
them  to  spare  his  life.  Later  Ranee  aids 
her  to  effect  his  escape  and  she  departs 
with  Johnson  for  an  Eastern  State  where 
they  are  to  be  married  and  begin  life  anew. 


HANSEL  AND  GRETEL 


Fairy  Opera  in  Three  Acts.  Music  by  Engelbert 
Humperdinck.  Book  by  Adelheid  Wette.  First 
produced  at  Weimar,  December  23,  and  at 
Munich,  December  30,  1893. 

SCENE:    A  German  Forest. 
TIME:    The  17th  Century. 


CAST 

PETER,  a  broom-maker  (Baritone). 
GERTRUDE,  his  wife  (Contralto). 
HANSEL,  their  son  (Mezzo-Soprano). 
GRETEL,  their  daughter  (Soprano). 
THE  CRUNCH  WITCH  (Mezzo-Soprano). 
THE  SAND  MAN  (Soprano). 
THE  DEW  MAN  (Soprano). 

Fourteen  Angels,  Children,  Elves,  etc. 


121 


ARGUMENT 

"Hansel  and  Gretel,"  adapted  from  a 
fairy  tale  by  the  brothers  Grimm,  loses 
nothing  of  its  charm  and  freshness  in  this 
delightful  musical  setting. 

ACT  I 

The  Broom- Maker's  Cottage.  The  two 
children  of  Peter,  the  broom-maker,  are 
trying  to  finish  their  stint  of  work  while 
awaiting  the  return  of  their  parents  with 
supper.  But  they  finally  grow  so  hungry 
that  they  lay  aside  their  tasks  and  dance 
about  to  forget  their  appetites.  Their 
mother,  a  hasty-tempered  woman,  finds 
them  thus  wasting  time  and  by  way  of  pun- 
ishment packs  them  off  into  the  woods  of 
Ilsenstein,  to  pick  berries  for  supper.  After 
they  have  run  away  in  terror,  Peter  comes 
in  greatly  pleased  over  having  sold  all  his 
brooms.  He  brings  food  in  plenty.  But 
when  he  learns  that  the  children  have  gone 
to  Ilsenstein,  where  the  bad  Crunch  Witch 
dwells,  he  is  greatly  alarmed  and  both  he 
and  Gertrude  post  in  search  of  them. 
122 


HANSEL  AND  GRETEL  123 

ACT  II 

In  the  Forest.  The  children  wander 
about  picking  berries,  but  are  so  hungry 
that  they  eat  them  as  fast  as  picked.  They 
are  therefore  afraid  to  return  home,  and 
besides  it  is  growing  dark.  They  sink  down 
weary  beneath  a  large  tree  and  the  Sand 
Man  comes  and  sprinkles  his  sand  of 
slumber  in  their  eyes.  Then  in  accordance 
with  their  childish  prayer,  fourteen  angels 
descend  a  staircase  from  Heaven  and 
assume  guard  about  them. 

ACT  III 

The  Witch's  Gingerbread  Hut.  The 
next  morning  the  Dew  Man  arouses  the 
children  and  they  are  surprised  to  find 
themselves  in  front  of  the  Gingerbread 
Hut  of  the  Crunch  Witch.  This  is  her 
trap  to  lure  children  whom  she  wishes  to 
devour,  but  Hansel  and  Gretel  do  not 
know  it.  They  are  hungry  and  break  off 
bits  of  the  delicious  house  to  nibble.  Out 
comes  the  witch  and  lays  hold  upon  them. 
Hansel  she  locks  up  in  a  cage  to  fatten,  but 
Gretel,  who  is  plump  enough,  is  made  to 


124  OPERA  SYNOPSES 

bring  water  and  fuel  to  help  the  witch 
prepare  her  feast.  The  witch  is  impatient 
for  Hansel  to  fatten  and  meanwhile  stirs 
up  her  oven  fire.  As  she  looks  in  at  the 
oven  door,  Hansel  escapes  from  the  cage, 
and  he  and  Gretel  give  the  witch  a  sudden 
push,  sending  her  headlong  inside  the  oven. 
The  children  dance  about  with  glee,  eating 
their  fill  of  sweetmeats.  The  oven  cracks 
open,  and  at  the  same  time  a  row  of  ginger- 
bread children  who  stood  along  the  facade 
of  the  hut  turn  into  real  live  children,  who 
thank  their  deliverers  for  their  escape  from 
the  witch's  spell.  The  witch  herself  is 
burned  to  a  crisp.  Peter  and  Gertrude 
now  enter,  overjoyed  to  find  their  children 
alive,  and  the  opera  ends  in  a  general 
dance  and  merry-making. 


HERODIAS 


(Herodiade).  Dramatic  Opera  in  Four  Acts.  Music 
by  Jules  Massenet.  Book  by  Paul  Milliet  and 
Henri  Gremont.  First  produced  at  the  Theatre 
de  la  Monnaie,  Brussels,  December  19,  1881. 

SCENE  :     Palestine. 
TIME:    30  A.  D. 


CAST 

HEROD,  the  tetrarch  (Basso). 
HERODIAS,  his  wife  (Mezzo-Soprano). 
SALOME,  her  daughter  (Soprano). 
PHANXJEL,  a  Chaldean  (Tenor). 
JOHN  THE  BAPTIST,  a  Prophet  (Tenor). 
VITELLITJS,  a  Roman  consul  (Baritone). 
HIGH  PRIEST  (Baritone). 

Jews,  Romans,  Soldiers,  Priests,  Dancers, 
Servants,  etc. 


125 


ARGUMENT 

"  Herodias  "  presents  another  version  of 
the  character  of  Salome  from  that  given  in 
the  Strauss  opera,  based  upon  the  Wilde 
play.  Both,  of  course,  go  back  to  the 
Biblical  account  for  their  slender  historical 
setting. 

ACT  I 

Courtyard  of  Herod's  Palace.  While 
servants  labor  under  the  direction  of 
Phanuel  the  Chaldean,  Salome  enters 
seeking  her  mother,  whose  identity  she 
does  not  know.  Phanuel  promises  to  aid 
her  but  warns  her  against  the  intrigues  of 
the  palace.  They  depart.  Herod  now 
enters  seeking  this  maiden  whose  dancing 
has  already  enslaved  him.  Herodias  meets 
him  and  complains  of  a  rough-looking 
prophet  who  has  bitterly  denounced  her  in 
public.  She  wishes  to  be  revenged,  but 
Herod  counsels  caution.  John,  the  prophet, 
enters  at  this  moment  repeating  his  denun- 
ciations. Both  Herod  and  Herodias  leave 
hastily.  Salome  runs  to  greet  him,  her 
126 


HERODIAS  127 


heart  won  "by  his  former  kindnesses;  but  he 
refuses  her  proffered  love. 

ACT  II 

Scene  1.  Herod's  Chamber.  The  tet- 
rarch  reclines  at  ease  watching  his  dancers; 
but  Salome  is  not  among  them  and  he  is 
unhappy.  Phanuel  enters  to  warn  him 
against  this  life  of  luxury. 

Scene  2.  A  Public  Square.  Urged  on 
by  Phanuel,  Herod  appears  before  the 
people  haranguing  them  to  throw  off  the 
Roman  yoke.  But  they  are  interrupted 
by  the  sound  of  trumpets  announcing  the 
arrival  of  the  Roman  consul,  Vitellius. 
The  suspicions  of  the  consul  are  lulled  by 
Herod,  who  says  that  the  priests  desire 
that  their  Temple  be  restored  to  them. 
Vitellius  says  it  shall  be  done.  John 
appears,  followed  by  Salome  and  others, 
and  the  consul  is  told  by  Herodias  that  the 
prophet  is  a  disturber  anxious  for  power. 
John  retorts  that  all  power  is  from  God. 

ACT  III 

Scene  1.  An  Inner  Room.  While  Phan- 
uel, the  Chaldean,  is  consulting  the  stars, 


128  OPERA  SYNOPSES 

Herodias  seeks  him  to  know  about  the 
future.  She  is  especially  desirous  to  know 
how  to  win  back  Herod's  love,  and  also  as 
to  the  whereabouts  of  her  lost  daughter. 
For  reply,  Phanuel  shows  her  Salome  who 
is  crossing  the  court  with  the  dancers. 
"That  my  daughter?"  exclaims  Herodias. 
"  No,  my  rival ! " 

Scene  2.  The  Temple.  Salome  is  in  the 
depths  of  despair  because  John  has  been 
cast  into  prison.  Herod  meets  her  and 
offers  her  his  love,  but  she  repulses  him. 
Vitellius  enters  proclaiming  the  power  of 
Rome.  The  priests  appear  before  him 
urging  the  condemnation  of  John.  He 
refers  them  to  Herod.  John  is  brought 
forward  and  questioned.  Salome  throws 
herself  before  him  begging  Herod  to  pardon 
him;  but  this  only  infuriates  Herod,  who 
sentences  him  to  death. 

ACT  IV 

Scene  1.  A  Dungeon.  While  John 
awaits  his  sentence,  Salome  enters.  Her 
fortitude  and  devotion  touch  him  and 
something  like  human  love  enters  his 
heart.  But  he  bids  her  flee  and  save  her- 


HERODIAS  129 


self.  The  High  Priest  secretly  offers  John 
a  pardon  if  he  will  use  his  influence  for 
Herod  against  Rome,  but  John  refuses. 
Scene  2.  Audience  Hall  in  the  Palace. 
While  Herod,  Herodias,  and  Vitellius  hold 
an  audience  and  are  entertained  by  dancers 
Salome  appears  at  the  special  command  of 
Herod.  He  turns  a  deaf  ear,  however,  to 
her  requests  for  John's  pardon,  and  the 
executioner  presently  appears  with  a 
bloody  sword,  as  a  sign  that  the  prophet  is 
dead.  Salome  turns  in  fury  upon  Herodias, 
eaying  "This  is  your  deed!"  and  is  about 
to  stab  her.  Herodias  in  fear  cries  out: 
"I  am  your  mother!"  "Then  take  back 
the  life  you  gave  me ! "  replies  Salome,  and 
etabs  herself  to  the  heart. 


THE    HUGUENOTS 


Dramatic  Opera  in  Five  Acts.  Music  by  Jacob 
Meyerbeer.  Book  by  Eugene  Scribe.  First  pro- 
duced at  the  Academic,  Paris,  February  29, 1836. 

SCENE:    Paris  and  Touraine. 
TIME:    1572. 


CAST 

MARGUERITE  DE  VALOIS,  the  Princess 

(Soprano) . 
COMTE  DE  ST.  BRIS,  a  Catholic  nobleman 

(Basso). 

VALENTINE,  his  daughter  (Soprano). 
RAOUL  DE  NANGIS,  a  Huguenot  nobleman 

(Tenor). 

MARCEL,  his  servant  (Basso). 
Due  DE  NEVERS,  a  Catholic  nobleman 

(Baritone). 

URBAIN,  a  page  (Mezzo-Soprano). 
Bois  Rosfi,  a  Huguenot  soldier  (Tenor). 

Catholic  and  Protestant  Noblemen  and  Sol- 
diers, Courtiers,  Attendants,  Citizens. 


131 


ARGUMENT 

The  Massacre  of  St.  Bartholomew's  Eve 
forms  the  historic  groundwork  of  "  The 
Huguenots."  The  stormy  love-affair  of 
two  young  persons  belonging  to  the  warring 
factions  is  its  theme. 

ACT  I 

Dining  Hall  in  De  Nevers'  Chateau.  In 
the  interests  of  peace  between  the  warring 
Catholic  and  Protestant  parties  of  France, 
the  Due  de  Nevers  entertains  Raoul  de 
Nangis  at  a  banquet  of  Catholic  noblemen. 
While  at  table,  the  diners  are  asked  to 
toast  their  ladies,  and  Raoul  tells  of  a  fair 
unknown,  whom  he  had  once  rescued 
from  a  band  of  roystering  students,  and 
whom  he  has  since  searched  for  in  vain. 
RaouPs  servant  Marcel,  now  enters  and 
warns  him  of  impending  danger.  Mean- 
while, De  Nevers  has  been  called  from  the 
room,  and  Raoul,  looking  out  of  the  win- 
dow, perceives  him  in  conversation  with 
the  very  lady  whom  he  has  been  toasting. 
He  now  thinks  that  he  has  discovered  a 
132 


THE  HUGUENOTS  133 


liaison  between  the  lady  (Valentine)  and 
the  noble,  when  in  reality  she  has  come  only 
to  ask  her  release  from  a  promise  of  mar- 
riage. A  servant  presently  arrives  bearing 
a  message  to  Raoul  from  Marguerite  de 
Valois,  asking  him  to  come  secretly  to 
court. 

ACT  II 

Garden  of  Marguerite  de  Valois.  Mar- 
guerite, like  De  Nevers,  is  working  for 
peace,  and  to  this  end  has  invited  Raoul  to 
her  presence.  She  is  willing  to  arrange  a 
match  between  him  and  Valentine  de  St. 
Bris,  thus  uniting  two  warring  houses. 
To  this  end,  Valentine  has  broken  her  be- 
trothal with  De  Nevers,  but  is  doubtful  as 
to  her  father's  consent.  The  princess 
promises  to  arrange  matters  with  St.  Bris. 
Raoul  is  received  at  court  blindfolded,  and 
when  unblinded  is  delighted  with  his  cor- 
dial reception.  Catholic  and  Protestant 
nobles  pledge  amity,  and  Valentine's  hand 
is  promised  to  Raoul.  But  when  he  dis- 
covers in  her  the  same  lady  that  he  saw  in 
De  Nevers'  garden,  he  thinks  that  the 
duke's  discarded  mistress  is  being  bestowed 
upon  him,  and  refuses  the  alliance.  St. 


134  OPERA  SYNOPSES 

Bris  and  De  Nevers  both  wish  to  avenge 
this  insult,  and  immediate  bloodshed  is 
only  averted  by  the  presence  of  the  prin- 
cess. 

ACT  III 

Banks  of  the  Seine  near  Paris.  Valentine 
has  again  accepted  the  faithful  De  Nevers 
and  preparations  are  forward  for  their 
wedding.  Raoul  has  sent  a  challenge  to 
St.  Bris,  and  the  latter's  friends  urge  him 
to  involve  all  the  Protestants  in  the 
quarrel.  Raoul  is  warned  of  treachery 
through  Marcel  and  Valentine,  but  keeps 
his  appointment  with  St.  Bris.  Marcel 
thereupon  calls  upon  all  the  Huguenots  in 
a  neighboring  inn,  while  St.  Bris  summons 
all  the  Catholics.  A  general  fight  is  averted 
only  by  Marguerite,  and  as  she  is  in  doubt 
as  to  whom  to  believe,  Valentine  tells  her 
the  whole  story.  Raoul  now  learns  for 
the  first  time  of  his  unjust  suspicions,  but 
his  knowledge  comes  too  late  as  De  Nevers 
appears  in  a  boat  to  conduct  his  bride  away. 

ACT  IV 

Room  in  De  Nevers'  Mansion.  It  is  the 
Eve  of  St.  Bartholomew's.  Raoul  comes  to 
take  a  last  farewell  of  his  lady  love,  but  she 


THE  HUGUENOTS  135 

bids  him  fly  from  imminent  peril.  A  party 
of  Catholic  noblemen  now  enter  and  he  is 
forced  to  take  refuge  behind  a  screen. 
There  he  overhears  the  whole  conspiracy 
against  his  party.  St.  Bris  gives  commands 
and  marshals  his  forces.  As  soon  as  they 
have  set  forth  on  their  bloody  quest,  Raoul 
declares  that  he  will  go  out  and  share  the 
fate  of  his  friends.  Valentine  clings  to  him 
and  begs  him  not  to  go.  From  without  is 
heard  a  fusillade  of  shots  and  other  sounds 
of  a  terrible  massacre.  Within  is  love.  But 
he  does  not  hesitate.  Finding  that  she  has 
locked  the  door,  he  leaps  from  the  balcony 
to  his"  fate. 

ACT  V  (Usually  Omitted) 

Marguerite's  Audience  Hall.  Raoul 
escapes,  wounded,  to  Marguerite's  court 
and  begs  her  protection  for  the  Huguenots. 
It  is  too  late,  however.  Murder  is  afoot 
and  will  not  cease  till  the  whole  party  has 
perished.  Valentine  now  rushes  in  and 
begs  him  to  abjure  his  faith  and  thus  save 
himself;  but  Marcel  tells  him  to  remember 
his  oath.  The  two  Huguenots  go  out  to 
meet  their  enemies,  and  Valentine  declares 
she  will  turn  Protestant  and  die  with  them. 


THE  JUGGLER  OF 
NOTRE  DAME 

(Le  Jongleur  de  Notre  Dame).  Miracle  P*lay  in 
Three  Acts.  Music  by  Jules  Massenet.  Book 
by  Maurice  Lena.  First  produced  at  Paris,  in 
1903. 

SCENE  :    Cluny  near  Paris. 
TIME:    The  14th  Century. 


CAST 

JEAN,  a  juggler  (Tenor). 
BONIFACE,  a  cook  (Baritone). 
PRIOR  OP  THE  MONASTERY  (Basso). 
POET,  a  monk  (Tenor). 
PAINTER,  a  monk  (Baritone). 
MUSICIAN,  a  monk  (Baritone). 
SCULPTOR,  a  monk  (Basso). 

Two  Angels,  apparition  of  the  Virgin, 
Monks,  Cavaliers,  Citizens. 


137 


ARGUMENT 

"  The  Juggler  of  Notre  Dame  "  is  styled 
by  its  librettist  a  "  Miracle"  play,  but  is 
only  such  in  the  sense  that  it  requires  a 
miracle  to  give  value  to  its  denouement. 
Its  theme  is  medieval  and  monastic,  ignor- 
ing love  or  'other  affairs  of  the  gentler  sex. 

ACT  I 

The  Cluny  Market-Place.  During  a 
market  day  in  which  all  the  villagers  gather 
to  barter  and  make  merry,  Jean  the  juggler 
wanders  about  forlorn  and  hungry.  His 
tricks  are  time-worn,  his  songs  weak,  and 
when  he  presently  tries  to  perform  for  the 
crowd,  they  only  jeer  at  him.  Finally,  to 
arouse  them  he  sings  a  sacrilegious  song, 
"Alleluia  to  Wine,"  in  which  they  roar  out 
a  chorus.  The  Prior  of  a  neighboring  mon- 
astery is  shocked  and  comes  out  to  anathe- 
matize the  crowd.  All  scatter,  leaving 
Jean,  who  is  really  a  good-hearted  fellow, 
to  bear  the  blame  of  the  church.  The  Prior 
is  finally  touched  by  his  penitence,  and  par- 
138 


THE  JUGGLER  OF  NOTRE  DAME     139 

dons  him,  but  urges  him  to  join  the  band  of 
monks.  Jean  does  not  wish  to  relinquish 
his  liberty,  but  the  sight  of  the  Cook's 
donkey  going  by  with  panniers  laden  with 
food  is  too  much  for  his  hungry  stomach 
and  he  consents. 

ACT  II 

The  Monastery  Study.  The  busy  monks 
each  labor  at  their  chosen  vocation,  poets, 
musicians,  painters,  scribes,  sculptors,  and 
what  not,  but  Jean  feels  himself  out  of  it. 
He  cannot  even  pray  to  the  Virgin  because 
he  knows  no  Latin,  and  he  fears  that  she 
will  not  listen  to  any  other  tongue.  Mean- 
while, the  other  monks  have  been  quarrel- 
ing as  to  which  of  their  vocations  has  the 
most  merit.  The  Cook  alone  consoles  Jean 
by  relating  to  him  the  legend  of  the  humble 
sage  plant,  useful  in  cooking,  and  Jean 
resolves  to  serve  the  Church  in  his  own 
humble  way. 

ACT  III 

The  Chapel.  Jean  lays  aside  his  mon- 
astic dress  and  puts  on  his  juggler's  apparel. 


140  OPERA  SYNOPSES 

He  goes  before  the  life-size  figure  of  the 
Virgin,  in  the  Chapel,  and  since  he  does 
not  know  anything  else,  he  prepares  to  offer 
to  her  his  little  stock  in  trade — a  juggling 
performance!  Spreading  out  his  shabby 
outfit,  he  performs  his  tricks  and  sings  his 
songs,  first  begging  pardon  if  they  do  not 
suit  her.  In  the  midst  of  his  performance, 
the  monks  enter  to  celebrate  high  mass. 
They  recoil  in  horror  at  this  sacrilege  and 
are  ready  to  lay  violent  hands  upon  the 
poor  juggler,  when  suddenly  a  miracle 
happens.  The  image  of  the  Virgin  be- 
comes animated,  the  face  smiles,  and  the 
arms  stretch  out  in  protection  and  bene- 
diction. The  monks  draw  back  in  awe, 
and  Jean  radiant  exclaims,  "  Now  at  last  I 
shall  know  Latin,"  and  breathes  his  last. 
Angels  appear  and  the  Prior  crossing  him- 
self says:  "We  have  had  a  saint  among 
us!". 


KOENIGSKINDER 


(The  King's  Children).  Fairy  Opera  in  Three 
Acts.  Music  by  Engelbert  Humperdinck.  Book 
by  Ernst  Hosmer,  after  the  fairy  tale  by  Elsa 
Bernstein.  First  produced  at  the  Metropolitan 
Opera  House,  New  York,  December  28,  1910. 

SCENE  :    Hellabrun,  in  the  Mountains  of 
Germany. 

TIME:    The  Middle  Ages. 


CAST 

THE  KING'S  SON  (Tenor). 

THE  GOOSE  GIRL,  also  of  royal  descent 

(Soprano) . 

THE  WITCH  (Contralto). 
THE  FIDDLER,  (Baritone). 
THE  WOODCUTTER  (Basso). 
THE  BROOM-MAKER  (Basso). 
THE  INN-KEEPER  (Baritone). 
THE  INN-KEEPER'S  DAUGHTER  (Soprano). 
THE  COUNCILLOR  (Basso). 
A  LITTLE  CHILD  (Soprano). 

Villagers  and  Country  People. 


141 


ARGUMENT 

"  Koenigskinder "  is  something  more 
than  a  fairy  opera;  it  is  an  allegory  upon 
love  which  unlocks  the  eyes  of  those  who 
have  it  in  their  hearts,  causing  them  to  see 
what  is  denied  to  ordinary  mortals. 

ACT  I 

The  Witch's  Hut  and  Garden.  In  a 
secluded  valley  a  witch  has  kept  a  young 
girl  prisoner.  She  has  grown  up  in  ignor- 
ance of  her  parents,  and  the  witch  has  cast 
a  spell  upon  the  forest  round  about  so  that 
she  may  not  escape.  The  girl  tends  her 
geese  and  dreams  of  the  sunny  world  with- 
out; but  the  witch  chides  her  for  idling, 
telling  her  that  there  is  more  evil  in  the 
world  than  good,  and  bidding  her  come  in 
and  knead  the  magic  bread  which  is  never 
to  grow  stale  but  will  some  day  carry  death 
to  the  eater.  The  girl  obeys  against  her  will 
while  the  witch  departs.  When  the  girl 
returns  to  the  sunshine  she  is  amazed  to  see 
a  man — the  first  who  has  penetrated  the 
142 


KOENIGSKINDER  143 

forest.  It  is  the  King's  son  who  is  now  in 
exile.  Both  having  hearts  of  love  they 
recognize  each  other  as  "  King's  Children." 
He  tells  her  to  come  with  him  into  the 
world,  and  she  would  willingly  go  but  can- 
not for  the  witch's  spell.  He  does  not 
understand  and  departs  in  anger.  Mean- 
while the  King  has  died  and  the  citizens  of 
Hellabrun  send  a  delegation — the  fiddler, 
the  woodcutter,  and  the  broom-maker, — 
to  the  witch  to  ask  her  who  shall  be  the 
next  ruler.  She  replies  that  it  will  be  the 
one  who  shall  come  to  the  city  gates  the 
next  day  at  the  stroke  of  noon.  The  fiddler 
alone  understands  her  and  lingers  behind 
to  talk  to  the  goosegirl  in  whom  he  also 
recognizes  one  of  kingly  descent.  She 
departs  with  him  despite  the  witch's  curse. 

ACT  II 

Gates  of  the  Town  of  Hellabrun.  The 
town  councillors  decide  to  put  the  witch's 
prophecy  literally  to  the  test,  and  all  the 
people  gather  near  the  city  gates  to  await 
the  coming  of  their  new  ruler.  Among  the 
throng  is  the  King's  son,  clothed  in  rags 
and  unnoticed.  He  has  been  workinK  in 


144  OPERA  SYNOPSES 

menial  tasks  no  one  recognizing  his  rank. 
The  innkeeper's  daughter  loves  him  selfish- 
ly but  he  disdains  her.  Then  a  little  child 
with  open  heart  sees  him  as  he  is  and 
becomes  his  friend.  The  bell  strikes  the 
hour  of  noon  and  all  await  feverishly  for 
the  gates  to  open.  As  they  do  so,  behold! 
only  the  goosegirl  surrounded  by  her  geese 
and  followed  by  the  faithful  fiddler.  With 
a  cry  the  King's  son  springs  forward. 
"  My  queen!"  he  cries.  But  the  others 
laugh  them  both  to  scorn  and  drive  them 
from  the  city.  They  cannot  accept  rulers 
who  come  in  rags  and  tatters.  Only  the 
little  child  sobs  in  grief  and  tells  the  chief 
councillor  that  they  have  turned  away 
their  King  and  Queen. 

ACT  III 

The  Witch's  Hut,  in  Winter.  The  witch 
has  been  burned  by  the  people  in  their  rage, 
and  now  all  is  cold  and  desolate  around  the 
hut.  The  fiddler,  old  and  lame,  has  taken 
up  his  refuge  there.  To  him  comes  the 
little  child  who  had  known  the  Prince,  with 
her  playmates,  and  asks  him  to  go  with 
them  to  find  the  King's  children  again.  He 


KOENIGSKINDER  145 

hobbles  out  to  join  them.  After  they  are 
gone,  the  two  lost  ones  appear  wearied  and 
faint  with  hunger.  The  Prince  goes  to  the 
hut  for  shelter  but  finds  the  woodcutter 
there  who  denies  them  admittance.  Finally 
he  sells  the  Prince  a  loaf  of  bread  for  his 
crown.  It  is  the  poisoned  bread  which  has 
remained  always  fresh.  They  eat  and  are 
overcome  with  stupor,  falling  in  the  snow. 
The  fiddler  and  the  children  presently  re- 
turn from  their  search  and  find  them  cold 
in  death.  Heartbroken  the  fiddler  bids 
the  children  make  a  grave  for  the  pair  upon 
the  summit  of  the  mountain.  There  they 
can  lie  and  dream  of  the  many  other 
children  of  the  king  who  go  through  the 
world  unrecognized  save  by  those  whose 
hearts  are  touched  with  love. 


LOHENGRIN 


Romantic  Opera  in  Three  Acts.  Music  by  Richard 
Wagner.  Book  by  the  Composer.  First  pro- 
duced at  Weimar,  August  28,  1850. 

SCENE:     The  Scheld,  Flanders. 
TIME:    The  10th  Century. 


CAST 

HENRY  I,  King  of  Germany  (Basso). 
FREDERICK  OF  TELRAMUND,  a  nobleman 

(Baritone). 

ORTRUD,  his  wife  (Contralto). 
ELSA  OF  BRABANT  (Soprano). 
LOHENGRIN,  the  Knight  of  the  Swan  (Tenor). 
HERALD  (Baritone). 

Courtiers,  Soldiers,  Citizens,  Servants. 


147 


ARGUMENT 

The  basis  of  "Lohengrin"  is  a  legend 
connected  with  one  of  the  Knights  of  the 
Holy  Grail.  These  knights  are  pledged  to 
succor  the  oppressed  at  any  time,  and  it  is 
in  an  adventure  of  this  sort  that  the  Knight 
of  the  Swan  appears. 

ACT  I 

The  Banks  of  the  Scheld.  According  to 
ancient  custom,  the  King  of  Germany  holds 
a  public  outdoor  court  in  which  he  hears 
complaints  and  tries  all  cases  which  may  be 
brought  before  him.  Frederick  of  Telra- 
niund,  an  unscupulous  nobleman,  appears 
before  this  court  and  claims  the  Duchy  of 
Brabant.  He  has  been  acting  as  regent 
during  the  minority  of  Godfrey  and  his 
sister  Elsa,  and  now  claims  that  the  maiden 
has  made  away  with  her  brother  in  order  to 
seize  the  dukedom.  Elsa  is  summoned  to 
defend  herself  and  declares  her  innocence. 
She  is  willing  to  leave  the  merits  of  her 
cause  to  a  trial  by  combat,  stating  that  she 
148 


LOHENGRIN  149 


has  seen  in  her  dreams  a  resplendent  knight 
who  promised  to  come  to  her  assistance. 
Frederick  agrees  to  meet  any  champion  she 
may  secure,  and  while  the  Herald  issues  the 
summons  Elsa  sinks  on  her  knees  in  prayer. 
At  first  no  answer  is  received,  but  on  the 
bugle  again  sounding  a  magic  boat  drawn 
by  a  swan  is  seen  far  up  the  river.  It  draws 
to  the  shore  and  a  knight  clad  in  glittering 
armor  steps  forth  and  announces  himself 
as  Elsa's  champion.  He  speedily  over- 
comes Frederick,  but  grants  him  his  life, 
and  asks  Elsa's  hand  in  marriage.  Only  one 
condition  is  interposed.  She  is  not  to  ask 
the  knight's  name  and  whence  he  came. 
She  consents  and  all  rejoice  at  the  happy 
outcome  of  events. 

ACT  II 

The  Courtyard  and  Cathedral.  On  the 
night  before  the  wedding  of  Elsa  and  her 
champion,  Frederick  and  Ortrud,  his  wife, 
wander  into  the  deserted  courtyard.  They 
have  been  banished  from  the  country,  but 
Ortrud  revives  her  husband's  drooping 
spirits  by  her  plans  to  deceive  Elsa,  whom 
she  is  to  persuade  to  ask  the  forbidden 


150  OPERA  SYNOPSES 

questions.    Elsa  receives  Ortrud  out  of  pity 
and  grants  her  shelter. 

Morning  dawns  and  the  people  assemble. 
When  all  is  ready  for  the  ceremony  and 
Elsa  and  her  attendants  are  about  to  enter 
the  church,  Ortrud  steps  forward  and 
accuses  the  knight  of  being  a  magician. 
Frederick  also  mounts  the  church  steps  and 
proclaims  his  wrongs.  But  the  knight  is 
undaunted,  and,  Elsa  once  more  declaring 
her  confidence  in  him,  the  procession  con- 
tinues. 

ACT  III 

Scene  1.  The  Bridal  Chamber.  Maidens 
precede  the  bridal  couple  singing  the  praises 
of  the  bride.  Elsa  and  the  knight  enter  and 
as  they  sit  by  the  open  window  renewing 
their  love  vows,  Elsa,  who  has  not  been  able 
to  get  Ortrud's  scoffing  words  out  of  her 
head,  begins  to  chide  her  husband  for  con- 
cealing his  identity  from  her.  He  tries  to 
prevent  her  from  asking  the  fatal  questions 
but  she  persists.  At  this  moment  a  band 
of  conspirators  headed  by  Telramund  rush 
into  the  room,  but  the  knight  easily  defeats 
them  all  and  strikes  Telramund  lifeless. 
He  then  bids  the  attendants  bear  the  body 


LOHENGRIN  151 


before  the  king  and  promises  to  follow 
and  tell  all. 

Scene  2.  The  Banks  of  the  Scheld.  The 
court  of  the  king  is  again  assembled  as  the 
monarch  prepares  to  set  forth  for  war.  The 
body  of  Frederick  is  borne  in,  and  the 
knight  follows  it.  He  defends  his  act  and 
then  publicly  reveals  his  identity.  He  is 
Lohengrin,  a  Knight  of  the  Holy  Grail  and 
the  son  of  Parsifal.  Now  he  must  return  to 
the  brotherhood,  despite  the  tears  of  the 
penitent  Elsa.  The  swan  boat  reappears, 
and  as  the  knight  kneels  in  prayer  the  swan 
disappears  in  the  stream  and  in  its  place 
steps  forth  Godfrey,  Elsa's  lost  brother. 
Ortrud  confesses  that  it  was  her  magical 
arts  which  caused  him  to  assume  this  shape. 
A  fluttering  dove  takes  the  place  of  the 
swan  and  conveys  the  boat  and  Lohengrin 
on  their  return  journey,  while  Elsa  clasps 
her  brother  in  her  arms  but  weeps  for  the 
loss  of  her  husband, 


LOUISE 


Dramatic  Opera  in  Four  Acts.  Music  by  Gustave 
Charpentier.  Book  by  the  Composer.  First 
produced  at  Paris,  in  1900. 

SCENE  :    Paris. 
TIME:    The  Present. 


CAST 

LOUISE,  a  sewing  girl  (Soprano). 

HER  FATHER  (Baritone). 

HER  MOTHER  (Contralto). 

JULIEN,  an  artist  (Tenor). 

IRMA,  a  sewing  girl  (Contralto). 

THE  KING  OP  FOOLS,  a  Bohemian  (Baritone). 

ERRAND  GIRL  (Mezzo-Soprano). 

FOREWOMAN  (Contralto). 

Sewing  Girls,  Bohemians,  Peddlers,  Rag- 
pickers, Grisettes,  Gamins,  etc. 


163 


ARGUMENT 

"Louise"  may  be  regarded  as  a  bit  of 
canvas  belonging  to  the  varied  panorama 
of  Paris.  It  depicts  home  life  among  the 
lower  working  classes  as  they  come  in  daily 
contact  with  the  underworld  of  the  great 
city.  Louise  herself  personifies  the  struggle 
between  love  and  duty;  between  the  in- 
stincts of  virtue  and  the  desire  to  be  free. 

ACT  I 

Garret  of  a  Paris  Tenement.  Louise,  a 
sewing  girl,  has  fallen  in  love  with  Julien,  a 
young  artist  whose  studio  balcony  adjoins 
her  window.  Julien  sings  charming  sere- 
nades but  is  an  improvident  bohemian  like 
the  rest  of  his  class.  He  nevertheless 
wishes  to  marry  Louise  and  has  written  to 
her  father  asking  for  her  hand,  but  her 
mother,  a  hard-working,  practical  woman 
is  violently  opposed  to  the  match.  She 
overhears  the  lovers  making  plans  from 
their  adjacent  windows  and  parts  them 
without  ceremony.  Louise's  father  returns 
154 


LOUISE  155 

home  wearied  from  his  day's  work,  but 
after  supper  and  a  pipe  he  feels  in  good 
humor  with  the  world.  He  reads  Julien's 
letter  and  the  girl  pleads  her  lover's  cause, 
while  her  mother  as  strongly  berates  it. 
They  quarrel,  but  the  father  endeavors  to 
act  as  peace-maker,  although  he  points  out 
to  his  daughter  the  improvidence  of  Julien. 
Louise  is  downcast  but  promises  to  try  to 
forget  him. 

ACT  II 

Scene  1.  The  Road  to  Montmartre.  It 
is  early  morning  and  Paris  is  waking  up. 
The  last  of  the  prowlers — beggars,  thieves, 
bohemians  and  street-walkers — are  still  to 
be  seen.  Rag-pickers  and  newsboys  are 
busy.  Servants  open  windows  and  shake 
rugs.  Presently  Julien  and  some  of  his 
bohemian  friends  appear.  He  is  planning 
to  elope  with  Louise,  since  he  cannot  obtain 
her  father's  consent.  Meanwhile  she  comes 
by  on  her  way  to  the  shop,  escorted  by  her 
mother.  Julien  conceals  himself  until  the 
latter  has  gone  away,  then  endeavors  to 
persuade  the  girl  to  come  with  him.  She 
refuses  and  continues  on  her  way  to  work. 

Scene  2.     A    Dresrmaker's    Work-Shop. 


156  OPERA  SYNOPSES 

Louise  and  many  of  her  companions  are 
seen  busily  at  work  sewing  and  fitting  gar- 
ments over  lay  figures.  They  ply  their 
needles  and  machines  and  sing  carelessly. 
One  or  two  tell  Louise  that  she  does  not 
look  well.  Presently  a  serenader's  voice  is 
heard;  it  is  Julien,  who  will  not  go  away. 
At  first  the  girls  applaud,  and  then  his  con- 
tinued singing  grows  monotonous.  Finally 
Louise  complains  of  being  ill  and  leaves  the 
room,  but  the  others  laugh  maliciously  as 
they  notice  that  she  is  going  up  the  street 
with  Julien. 

ACT  III 

A  Cottage  on  the  Montmartre.  Julien 
and  Louise  have  set  up  an  establishment 
for  themselves  without  consent  of  either 
parents  or  the  church.  But  they  justify 
their  conduct  on  the  score  of  love.  They 
are  children  of  the  great  city  and  have  a 
right  to  be  free.  After  they  have  retired 
within  the  cottage  a  group  of  laughing 
bohemians  pause  before  the  cottage.  One 
of  them  hangs  lanterns  from  its  door  and 
windows.  The  crowd  gathers  and  the 
lovers  are  summoned  forth.  Then  the 
King  of  Fools  makes  an  address  and  crowns 
Louise  as  the  Muse  of  Montmartre.  In  the 


LOUISE  157 

midst  of  this  revelry  a  woman  pushes  her 
way  through  the  throng,  which  scatters  to 
right  and  left.  It  is  Louise's  mother  come 
to  plead  with  her  daughter.  She  no  longer 
quarrels,  but  she  says  that  the  father  is  ill 
and  only  Louise's  presence  can  help  him. 
Afterwards  she  will  be  allowed  to  return  to 
Julien.  The  lovers  separate  upon  these 
terms,  and  the  girl  goes  with  her  mother. 

ACT  IV 

The  Garret  Room.  Louise  finds,  after 
she  returns  home,  that  she  is  being  held  a 
prisoner.  She  must  sew  at  home.  Her 
father  still  treats  her  affectionately,  but 
insists  upon  her  remaining  with  them.  She 
says  she  is  a  grown  woman  and  has  the 
right  to  be  free.  He  points  out  that  the 
freedom  she  claims  is  the  first  step  to  ruin. 
She  is  at  first  sullen,  then  defiant  to  both 
father  and  mother,  and  finally  seizes  her 
shawl  and  bursts  past  them  to  the  door. 
Her  mother  rushes  to  the  window  to  call 
her,  while  her  father  pursues  her  as  far  as 
the  staircase.  But  she  is  gone  out  of  their 
lives.  The  old  workman  shakes  his  fist  at 
the  city  which  has  clrJmed  another  victim. 
"Oh,  Paris!"  he  cries  out,  heart-broken. 


LUCIA  DI  LAMMERMOOR 


Tragic  Opera  in  Three  Acts.  Music  by  Gaetana 
Donizetti.  Book  by  Cammerano,  after  Scott'a 
"  Bride  of  Lammermoor."  First  produced  at 
Naples  in  1835,  and  at  London,  April  5,  1838. 

SCENE  :    Scotland. 
TIME:    1700. 


CAST 

HENRY  ASHTON,  of  Lammermoor  (Basso). 
LUCY  ASHTON,  his  sister  (Soprano). 
EDGAR,  of  Ravenswood  (Tenor). 
LORD  ARTHUR  BUCKLAW,  friend  of  Ashton 

(Tenor). 

NORMAN,  a  follower  of  Ashton  (Tenor). 
RAYMOND,  chaplain  to  Ashton  (Basso). 
ALICE,  attendant  to  Lucy  (Soprano). 

Friends  and  retainers  of  the  Ashtons, 
Villagers,  etc. 


159 


ARGUMENT 

The  story  of  "Lucia  di  Lammermoor " 
follows  closely  the  well-known  novel  of 
Scott  dealing  with  the  tragic  fate  of  two 
lovers  separated  by  family  strife. 

ACT  I 

Scene  1.  Ashton's  Castle  of  Lammer- 
moor. Lucy  Ashton  is  being  urged  by  her 
brother  to  accept  Bucklaw,  who  will  restore 
their  family  fortunes,  but  she  persists  in 
refusing  him.  Ashton  learns  that  she  is  in 
love  with  Edgar  of  Ravenswood,  his  worst 
enemy,  and  in  a  rage  sends  his  men  to 
capture  this  presumptuous  claimant  of  her 
hand. 

Scene  2.  Grove  near  the  Castle.  Edgar 
and  Lucy  meet  in  secret  for  a  farewell  inter- 
view. He  is  sailing  for  France,  and  she 
promises  eternal  fidelity  to  him.  They 
exchange  tokens  and  part. 

ACT  II 

Scene  1.     Lucy's  Apartments.     Ashton 
makes  preparations  for  the  marriage  of  his 
160 


LUCIA  DI  LAMMERMOOR  161 

sister  with  Bucklaw,  never  doubting  that 
he  will  obtain  her  consent  at  the  final 
moment.  The  girl  is  in  deep  dejection. 
Letters  between  her  and  Edgar  have  been 
intercepted  and  she  is  told  that  he  is  faith- 
less. A  forged  letter  from  Edgar  is  shown 
in  proof  of  this.  Finally  she  yields  to  her 
brother's  entreaties  and  the  arguments  of 
Raymond  her  spiritual  adviser,  and  agrees 
to  sign  the  wedding  contract. 

Scene  2.  Hall  of  the  Castle.  The  guests 
have  assembled  for  tho  wedding  ceremony. 
Bucklaw  is  being  congratulated  by  his 
friends,  and  Lucy  enters  as  a  passive  figure 
in  the  scene.  At  this  moment  Edgar  rushes 
wildly  into  the  hall  and  demands  that  the 
ceremony  cease.  Ashton  triumphantly 
shows  him  the  contract  signed  by  his  sister. 
Edgar  loads  her  with  reproaches  and  leaves 
the  room  before  Ashton's  retainers  can 
interpose. 

ACT  III 

Scene  1.  Hall  of  the  Castle.  The  wed- 
ding has  been  celebrated  despite  Edgar's 
interposition,  and  he  has  made  an  appoint- 
ment to  fight  a  duel  with  Ashton.  The 
bride  and  groom  have  been  shown  their 


162  OPERA  SYNOPSES 

apartments,  and  while  the  guests  still  make 
merry  the  news  is  circulated  that  Lucy  has 
gone  mad  and  stabbed  Bucklaw.  She  ap- 
pears among  the  horrified  guests  raving 
insane. 

Scene  2.  (Sometimes  omitted.)  A 
Churchyard.  Edgar  awaits  his  enemy  and 
dreams  of  his  lost  love.  A  bell  tolls  and  he 
hears  that  Lucy  is  dead,  and  to  the  last  was 
faithful  as  she  had  promised.  Edgar  stabs 
himself. 


MADAM    BUTTERFLY 


Dramatic  Opera  in  Two  Acts.  Music  by  Giacomo 
Puccini.  Italian  text  by  Illica  and  Giacosa,  after 
the  American  drama  by  David  Belasco  and  John 
Luther  Long.  First  produced  at  Milan,  in  1904. 

SCENE:    Nagasaki,  Japan. 
TIME:    The  Present. 


CAST 

MADAM  BUTTERFLY  (Cho-Cho-San)  a 

Japanese  woman  (Soprano). 
SUZUKI,,  her  servant  (Mezzo-Soprano) . 
PINKERTON,  a  lieutenant,  U.  S.  Navy  (Tenor). 
KATE  PINKERTON,  his  wife  (Mezzo-Soprano). 
SHARPLESS,  U.  S.  Consul  (Tenor). 
GORO,  a  Japanese  marriage  broker  (Tenor) 
YAMADORI,  a  Japanese  nobleman  (Baritone). 
THE  BONZE,  uncle  to  Cho-Cho-San  (Basso). 

Relatives  of  Cho-Cho-San,  Villagers,  etc. 


163 


ARGUMENT 

"  Madam  Butterfly"  is  a  tragedy  of 
broken  faith.  The  scene  is  laid  in  Japan, 
but  the  characters  and  flavor  of  the  work 
are  both  Japanese  and  American. 

ACT  I 

A  Japanese  Villa.  Lieutenant  Pinkerton 
U.  S.  N.,  rinding  that  he  will  be  stationed 
in  Nagasaki  for  some  months,  desires  to 
contract  a  Japanese  marriage.  He  is 
assured  by  the  marriage-broker  who  trans- 
acts the  business  for  him  that  this  marriage 
will  only  be  binding  so  long  as  he  consents 
to  live  with  his  wife,  and  that  afterwards 
she  can  marry  again.  But  Cho-Cho-San, 
the  girl  who  agrees  to  marry  the  lieutenant, 
has  fallen  deeply  in  love  with  him  and  be- 
lieves she  is  entering  into  a  life  contract. 
She  goes  so  far  as  to  renounce  her  religion, 
thus  severing  all  connection  with  her  own 
people.  Sharpless,  the  American  consul, 
tries  to  prevent  the  match  by  telling  his 
friend  Pinkertou  how  seriously  the  girl 
164 


MADAM  BUTTERFLY  165 

considers  it.  The  lieutenant  has  further 
proof  of  this  when  a  fanatical  bonze,  or 
priest,  an  uncle  of  hers,  appears,  as  the 
wedding-party  is  seated  at  the  feast,  and 
heaps  curses  upon  her  head  for  renouncing 
her  faith.  All  her  relatives  thereupon  de- 
sert her,  but  Cho-Cho-San,  though  sorrow- 
ful, clings  to  her  husband  and  he  soon 
calms  her  fears.  The  scene  closes  in  mutual 
protestations  of  love. 

ACT  II 

Scene  1.  The  Villa.  Three  years  later. 
After  a  short  but  blissful  wedded  life,  Lieu- 
tenant Pinkerton  has  been  recalled  to 
America.  He  leaves  Cho-Cho-San  (who  is 
now  called  "  Madam  Butterfly")  in  Japan, 
promising  to  return  "  when  the  robins  nest 
again."  She  trusts  him  implicitly  but  her 
maid,  Suzuki,  is  far  from  having  the  same 
confidence.  After  some  months  of  silence, 
the  battleship  on  which  Pinkerton  serves  is 
again  ordered  to  Japan,  and  the  officer  writes 
Sharpless  a  letter  saying  that  he  will  return 
with  an  American  wife  and  asking  the  con- 
sul to  break  this  news  to  Madam  Butterfly. 
The  consul  brings  her  the  letter,  but  she  is 


166  OPERA  SYNOPSES 

so  overjoyed  at  seeing  a  missive  from  him 
that  she  pays  no  heed  to  its  message  and 
the  consul  has  not  the  heart  to  disturb  her 
faith.  She  also  turns  a  deaf  ear  to  Goro, 
the  marriage-broker,  who  comes  to  arrange 
a  match  between  her  and  a  Japanese  noble- 
man. When  he  says  that  Pinkerton's 
desertion  is  equivalent  to  a  divorce  she 
answers  proudly:  "That  may  be  so  in 
Japan,  but  I  am  an  American! "  When  the 
consul  tries  again  to  convince  her  of  the 
truth,  she  produces  a  fair-haired  child  and 
says:  "  My  lieutenant  cannot  forget  this." 
The  consul  departs  shaking  his  head,  just 
as  the  sound  of  cannon  announces  the  war- 
ship's arrival.  In  a  fever  of  excitement 
Butterfly  and  her  maid  decorate  the  house 
with  flowers  to  honor  the  expected  arrival 
of  its  lord.  The  evening  drags  by  and  the 
maid  and  child  fall  asleep,  but  the  house- 
wife waits  and  watches  without  closing  her 
eyes. 

Scene  2.  The  Same.  The  Next  Day. 
Madam  Butterfly  has  watched  and  listened 
all  night  long,  and  now  morning  has  arrived 
without  bringing  her  husband.  Suzuki 
awakes  and  persuades  her  weaned  mistress 
to  lie  down  and  rest.  She  does  so,  in  order 


MADAM  BUTTERFLY  167 

that  she  may  look  well  when  "he  comes." 
After  she  has  retired  the  consul  arrives  with 
Pinkerton  and  his  American  wife.  When 
Pinkerton  hears  from  Suzuki  of  Butterfly's 
devotion  and  trust  he  is  overcome  with 
remorse  and  cannot  remain  to  face  the 
deserted  bride.  Suzuki  is  commissioned  to 
tell  her  that  Mrs.  Pinkerton  will  care  for 
the  child,  but  Butterfly  entering  at  this 
moment  hears  it  from  the  American  lady's 
own  lips.  She  retains  her  composure  by  a 
great  effort,  congratulates  Mrs.  Pinkerton 
politely,  and  says  that  if  they  will  return 
in  half  an  hour  they  may  have  the  child. 
When  the  Americans  return  at  the  specified 
time  they  find  that  Madam  Butterfly  has 
slain  herself  with  her  father's  sword,  on 
which  is  inscribed :  "  Die  with  honor,  when 
you  can  no  longer  live  with  honor." 


THE   MAGIC   FLUTE 


(II  Flauto  Magico.  Die  Zauberflote).  Fantastic 
Opera  in  Two,  or  Four  Acts.  Music  by  Johann 
Wolfgang  A.  Mozart.  Book  by  Schickaneder. 
First  produced  at  Vienna,  in  1791. 

SCENE  :    Egypt. 
TIME:    Antiquity. 


CAST 

SARASTRO.  Priest  of  I  sis  (Basso). 

THE  QUEEN  OF  NIGHT,  a  sorceress  (Soprano), 

PAMINA,  her  daughter  (Soprano). 

TAMING,  a  Prince  (Tenor). 

PAPAGENO,  his  attendant  (Basso). 

PAPAGENA,  the  latter's  sweetheart  (Soprano). 

MONASTATOS,  a  Moor  (Tenor). 

Priests,  Ladies,  Pages,  Fairies, 
and  Wild  Creatures. 


169 


ARGUMENT 

"  The  Magic  Flute  "  is  an  allegorical  fan- 
tasy showing  the  reward  of  constancy.  It 
relates  the  adventures  of  a  Prince  and  an 
imprisoned  maiden.  The  bewildering  array 
of  scenes  is  wedded  to  sensuous  music  and 
the  effect  of  the  whole  is  heightened  by 
strange  scenic  effects.  The  two  acts  into 
which  the  opera  was  originally  divided  have 
become  three  or  four  acts  in  modern  presen- 
tations. 

ACT  I 

A  Forest.  Prince  Tamino  has  lost  his 
way  in  a  dense  forest  and  is  moreover  pur- 
sued by  a  gigantic  serpent.  His  outcries 
bring  three  fairies  to  his  aid,  who  slay  the 
serpent  with  their  spears.  Tamino  now 
sees  a  strange  being  who  walks  like  a  man 
but  is  clad  in  birds'  feathers.  It  is  the  fan- 
tastic Papageno,  who  claims  that  this  is  the 
proper  way  to  catch  birds.  Papageno  is  a 
great  braggart  and  at  once  claims  the  honor 
for  having  slain  the  serpent.  The  fairies 
fasten  a  padlock  on  his  lips  in  punishment 
170 


THE  MAGIC  FLUTE  171 

for  the  lie.  They  show  the  Prince  the  por- 
trait of  a  lovely  maiden,  Pamina,  who  is  in 
the  power  of  Sarastro,  at  the  Temple  of  Isis. 
Her  mother,  the  Queen  of  the  Night,  now 
appears  and  invokes  his  aid  to  rescue  the 
maiden.  The  Prince  gladly  consents  to 
enter  upon  the  adventure,  and  is  given  a 
magic  flute  which  will  ward  off  danger. 
Papageno  is  to  accompany  him;  the  padlock 
is  removed  and  he  is  given  a  chime  of  bells. 

ACT  II 

Scene  1.  The  Palace  of  Sarastro.  The 
Moor  Monastatos  has  persecuted  Pamina 
with  his  attentions.  Angered  by  her  dis- 
dain he  drags  her  into  an  apartment,  but  is 
frightened  away  by  Papageno,  who  has 
been  transported  thither  by  her  mother 
to  announce  the  coming  of  the  Prince. 
Pamina  plans  to  flee  with  them. 

Scene  2.  Entrance  to  the  Temple.  Tam- 
ino  approaches  the  Temple  of  Isis  con- 
ducted by  three  pages.  At  two  of  its  doors 
he  is  denied  admittance,  but  at  the  third  a 
priest  appears  and  tells  him  he  is  mistaken 
in  his  opinion  of  Sarastro.  The  maiden  is 
really  being  protected  in  the  Temple  to 


172  OPERA  SYNOPSES 

keep  her  out  of  the  power  of  her  mother's 
sorceries.  Pamina  and  Papageno  now  ap- 
pear, but  the  Moor  prevents  their  escape. 
Sarastro  enters  and  having  heard  all  the 
story  orders  that  the  Moor  be  punished. 
The  two  lover  he  greets  kindly  telling  the 
Prince  he  must  show  himself  worthy  by 
passing  through  an  ordeal  of  the  Temple. 

ACT  III 

Scene  1.  A  Palm  Grove.  The  priests 
meet  to  consider  the  case  of  the  two  lovers 
and  agree  that  they  shall  be  united  if  the 
Prince  can  successfully  undergo  the  ordeals. 
This  will  also  prevent  Pamina  from  falling 
under  the  evil  influence  of  her  mother. 

Scene  2.  A  Courtyard.  The  first  ordeal 
is  that  of  silence.  Tamino  and  Papageno 
must  not  utter  a  word.  The  three  attend- 
ants of  the  Queen  of  the  Night  now  appear 
and  tempt  them,  but  they  remain  firm, 
though  at  great  cost  to  Papageno. 

Scene  3.  A  Garden.  While  Pamina  is 
asleep  the  Moor  approaches  her,  then  con- 
ceals himself  when  her  mother  appears 
with  a  dagger  which  the  girl  is  commanded 
to  employ  against  Sarastro.  When  the 


THE  MAGIC  FLUTE  173 

Queen  is  gone  the  Moor  returns  and 
threatens  Pamina,  but  is  again  foiled  by 
Sarastro. 

Scene  4.  A  Corridor  in  the  Temple. 
Papageno  and  his  master  still  continue 
under  the  ordeal  of  silence,  which  finally 
becomes  too  great  a  strain  for  the  former. 
The  Prince  remains  silent  even  when  Pam- 
ina meets  him  and  addresses  endearing  re- 
marks. She  is  deeply  wounded  that  he  does 
not  reply. 

ACT  IV 

Scene  1.  The  Pyramids.  The  Prince  is 
commanded  to  wander  out  into  the  desert. 
He  parts  sadly  from  Pamina.  Seeing  the 
delights  as  well  as  the  sorrows  of  love  Papa- 
geno wishes  for  a  "  little  wife  "  of  his  own. 
An  old  hag  appears  before  him.  As  he  is 
about  to  run  away  she  changes  into  the 
young  and  pretty  Papagena.  But  he,  too, 
must  first  prove  his  worth. 

Scene  2.  The  Desert.  Pamina  believes 
the  Prince  to  be  faithless  and  is  about  to 
kill  herself  with  the  dagger,  when  she  is  pre- 
vented by  the  three  pages.  Papageno  like- 
wise is  in  the  depths  of  despair  over  the  loss 


174  OPERA  SYNOPSES 

of  Papagena,  but  when  he  finds  he  can 
summon  her  by  ringing  his  chime  of  bells 
his  sorrow  is  turned  into  joy. 

Scene  3.  A  Fiery  Cavern.  Tamino  is 
seen  undergoing  the  last  of  his  ordeals. 
He  is  menaced  by  great  waterfalls  and 
tongues  of  flame.  Beyond  these  he  beholds 
Pamina  and  calls  to  her,  his  lips  now  being 
unsealed.  The  lovers  are  reunited  and  a 
few  strains  from  the  magic  flute  cause  the 
remaining  dangers  to  vanish. 

Scene  4.  The  Temple  of  Isis.  Sarastro 
welcomes  the  Prince  and  the  maiden  and 
joins  their  hands.  Papageno  and  his  Papa- 
gena are  likewise  made  happy.  The  Queen 
and  her  agent  the  Moor  are  vanquished. 


MANON 


Dramatic  Opera  in  Five  Acts.  Music  by  Jules 
Massenet.  Book  by  H.  Meilhac  and  P.  Gille, 
after  Marcel  PreVost's  "Manon  Lescaut."  First 
produced  at  the  Opera  Comique,  Paris,  Janu- 
ary, 1884. 

SCENE:    Amiens,  Paris,  Havre. 
TIME:    1721. 


CAST 

COMTE  DBS  GRIEUX,  a  French  nobleman 

(Basso). 

CHEVALIER  DES  GRIEUX,  his  son  (Tenor). 
LESCAUT,  a  guardsman  (Baritone). 
MANON  LESCAUT,  his  cousin  (Soprano). 
GUILLOT  MORFONTAIN,  a  minister  of  finance 

(Basso). 

DE  BRETIGNY,  a  nobleman  (Baritone). 
POUSSETTE,  an  actress  (Soprano). 
ROSETTE,  an  actress  (Soprano). 
JAVOTTE,  an  actress  (Contralto). 

Innkeeper,  Citizens,  Actresses,  Soldiers, 
Servants,  etc. 


175 


ARGUMENT 

"  Manon"  is  a  picture  of  French  life 
among  the  gay  set,  drawn  from  Prevost's 
well-known  story  "  Manon  Lescaut,"  which 
is  the  same  source  made  use  of,  some  years 
later,  by  Puccini  in  his  opera  of  that  name. 

ACT  I 

A  Tavern  at  Amiens.  Manon  Lescaut  is 
a  gay  and  volatile  French  woman  whose 
spirits  her  parents  very  wisely  seek  to  curb 
by  placing  her  in  a  convent.  On  the  way 
thither,  escorted  by  her  cousin,  she  stops 
at  an  inn  where  Morfontain  is  entertaining 
some  friends.  The  old  roue  immediately 
begins  to  make  advances  to  her  but  is  re- 
pulsed. Not  so  young  Des  Grieux,  who 
has  been  destined  for  the  priesthood.  He 
finds  Manon  so  attractive,  and  she  him, 
that  they  both  forsake  their  prospective 
vows  and  run  away  to  Paris. 

ACT  II 

Des  Grieux's  Apartments  in  Paris.     Ma- 
non and  the  chevalier  live  quietly  in  Paris 
173 


MANON  177 

and  he  writes  to  his  father  the  Count, 
asking  permission  to  marry  her.  Her 
cousin,  Lescaut,  arrives  to  demand  that  he 
treat  her  honorably,  but  with  Lescaut 
comes  De  Bretigny  a  wealthy  Parisian,  who 
makes  advances  to  her  while  her  lover  is 
away.  He  tells  her  he  will  lavish  his  riches 
upon  her,  and  that  Des  Grieux  will  be 
seized  for  debt  that  night.  Manon  yields 
to  the  temptation  and  does  not  warn  her 
lover,  who  is  arrested.  She  goes  with  De 
Bre'tigny. 

ACT  III 

Scene  1.  A  Parisian  Boulevard.  Ma- 
non is  the  center  of  a  laughing  crowd  of 
actresses  and  boulevardiers.  True  to  his 
word,  De  Bre'tigny  maintains  her  in  lux- 
ury. But  she  overhears  the  Count  des 
Grieux  telling  a  friend  that  the  chevalier, 
disgusted  with  Manon's  conduct,  was 
about  to  become  a  monk.  She  seeks  further 
information,  but  the  Count,  guessing  her 
identity,  will  not  say  more.  She  resolves 
to  seek  her  former  lover. 

Scene  2.  The  seminary  of  St.  Sulpice. 
The  Count  is  unwilling  for  his  son  to  enter 
the  priesthood  and  endeavors  to  dissuade 


178  OPERA  SYNOPSES 

him.  Afterwards,  Manon  enters,  but  the 
chevalier  only  reproaches  her  with  her 
faithlessness.  She  says  that  she  still  loves 
him,  and  after  much  argument  persuades 
him  to  come  back  to  the  world  with  her. 

ACT  IV 

A  Gambling  House  in  Paris.  In  order 
to  maintain  Manon  in  the  style  to  which 
she  is  accustomed,  the  chevalier  frequents 
the  gambling  houses.  He  wins  large  sums, 
especially  from  Morfontain.  The  latter 
accuses  him  of  cheating  and,  by  way  of 
revenge  upon  Manon,  who  jilted  him,  has 
both  Des  Grieux  and  Manon  arrested. 
The  Count  also  joins  forces  against  her  and 
plots  to  have  her  deported  where  she  can 
do  no  further  mischief. 

ACT  V 

The  Open  Road  near  Havre.  Manon  is 
being  escorted  out  of  the  country  by  a 
guard  of  soldiers.  The  chevalier  asks 
Lescaut,  her  cousin,  to  aid  him  in  rescuing 
her.  They  try  bribery.  She  has  a  short 
interview  with  Des  Grieux,  begging  his 
pardon  for  wrecking  his  life;  then  perishes 
from  excitement  and  over-fatigue. 


THE   MARRIAGE   OF   FIGARO 


(Le  Nozze  di  Figaro).  Comic  Opera  in  Four 
Acts.  Music  by  Johann  Wolfgang  A.  Mozart. 
Book  by  Lorenzo  Da  Ponte,  founded  upon  the 
comedy  of  Beaumarchais.  First  produced  at  the 
National  Theatre,  Vienna,  May  1,  1786. 

SCENE  :    Seville. 

TIME:    The  17th  Century. 


CAST 

COUNT  ALMAVIVA,  a  nobleman  of  Seville 

(Baritone). 

COUNTESS  ROSIN  A,  his  wife  (Soprano). 
FIGARO,  valet  to  the  Count  (Basso). 
SUSANNA,  his  betrothed  (Soprano). 
DOCTOR  BARTOLO,  a  physician  (Basso). 
BASILIC,  a  music-master  (Tenor). 
CHERUBINO  a  page  (Soprano). 
MARCELLINA,  the  housekeeper  (Contralto). 
ANTONIO,  a  gardener  (Basso). 
BARBARINA,  his  daughter  (Soprano). 
DON  GUZMAN,  a  judge  (Tenor). 

Members  of  the  Count's  household, 
Friends,  Citizens,  etc. 

179 


ARGUMENT 

"The  Marriage  of  Figaro"  is  a  direct 
continuation  of  "The  Barber  of  Seville," 
both  being  founded  upon  the  uproarious 
comedy  by  Beaumarchais. 

In  the  present  opera,  Count  Almaviva 
is  wedded  to  Rosina,  whom  he  courted 
under  such  difficulties  with  the  aid  of  the 
"Barber."  But  having  obtained  the  lady 
he  proves  fickle  and  susceptible  to  other 
beauties  who  may  chance  to  come  his  way. 
His  latest  flame  is  Barbarina,  the  pretty 
daughter  of  his  gardener,  but  he  has  a 
rival  in  the  persistent  page,  Cherubino, 
whom  he  seeks  to  get  rid  of  by  placing  him 
in  the  army.  Figaro,  the  barber,  has 
entered  the  Count's  service  and  is  looking 
forward  to  marriage  with  Susanna,  a  ward 
of  the  Countess.  Susanna  also  has  been 
pursued  by  the  Count,  unsuccessfully. 

ACT  I 

A  Room  in  the  Count's  Castle.    Prepar- 
ations  are   forward   for   the    marriage    of 
180 


THE  MARRIAGE  OF  FIGARO         181 

Figaro  and  Susanna.  He  is  discovered 
busily  arranging  the  furniture,  while  she  is 
trying  on  a  bridal  wreath  before  the  mirror. 
They  plan  for  the  future  and  she  says  she 
will  be  glad  thus  to  escape  the  Count's 
attentions.  Dr.  Bartolo,  the  physician, 
arrives  and  is  told  by  Marcellina,  the  old 
housekeeper,  that  Figaro  was  formerly 
engaged  to  marry  her.  The  doctor  agrees 
to  help  her  win  justice,  and  is  glad  to  have 
this  chance  to  even  scores.  (See  "Bar- 
ber.") Marcellina  and  Susanna  engage  in 
a  war  of  words  over  the  bridegroom.  The 
page,  Cherubino,  now  arrives  with  his 
troubles;  he  is  to  be  sent  away  immediately 
because  he  loves  Barbarina.  His  recital 
of  woe  is  interrupted  by  the  entrance  of 
the  Count  himself.  The  page  jumps  be- 
hind a  chair.  Susanna  seats  herself  before 
him.  The  Count  makes  advances,  but  is 
disturbed  by  the  entrance  of  Basilio,  and 
in  turn  goes  behind  the  chair.  The  page 
slips  like  an  eel  into  the  chair  and  ia 
covered  by  a  dress  which  Susanna  throws 
over  it.  After  some  further  confusion,  both 
the  Count  and  Cherubino  are  discovered 
and  the  page  is  ordered  to  depart  forthwith. 


182  OPERA  SYNOPSES 

ACT  II 

Apartments  of  the  Countess.  Cherubino 
still  lingers  around  the  premises,  and  the 
Countess  decides  to  use  him  as  a  tool  to 
unmask  her  husband's  perfidy.  She  and 
Susanna  plan  to  dress  him  in  woman's 
attire,  and  he  is  nothing  loath  as  this  will 
enable  him  to  remain  for  the  wedding  and 
be  near  Barbarina.  While  they  are  thus 
busied  the  Count  comes  to  the  door  and 
demands  admittance.  Cherubino  jumps 
out  of  the  window  and  the  Count  is  baffled. 
But  when  the  gardener  comes  in  to  com- 
plain that  his  flower-pots  beneath  the 
window  are  broken,  the  Count's  suspicions 
are  again  aroused.  The  gardener  also  pro- 
duces Cherubino's  commission  in  the  army, 
which  has  been  dropped  in  the  leap. 
But  Figaro,  who  has  entered  meanwhile, 
shoulders  all  the  blame  saying  that  he  had 
come  to  see  Susanna  and  also  had  the 
letter.  Marcellina,  the  housekeeper,  now 
appears  to  enforce  her  claim  against 
Figaro,  and  the  Count,  glad  of  the  excuse, 
postpones  the  marriage  until  this  claim 
can  be  investigated. 


THE  MARRIAGE  OF  FIGARO         183 

ACT  III 

Apartment  in  the  Castle.  Susanna  is 
persuaded  to  meet  the  Count,  by  the 
Countess,  in  the  hope  of  untangling  the 
marital  difficulty.  The  Count  is  obdurate, 
until  it  is  found  that  Figaro  is  actually  the 
son  of  Marcellina  and  so  could  not  possibly 
marry  her.  This  apparently  removes  the 
last  obstacle  to  his  happiness.  But  the 
Countess  and  Susanna  had  agreed  to 
change  clothes  for  the  evening  in  order  to 
confuse  the  Count  still  further.  The  ruse 
is  so  successful  that  Figaro  also  is  fooled 
and  becomes  furiously  jealous. 

ACT  IV 

The  Garden.  The  last  act  becomes  a 
farce  of  confused  identities.  The  Countess 
and  her  maid  have  changed  clothes,  fooling 
both  the  Count  and  his  servant.  Bar- 
barino  is  also  in  the  general  mix-up,  but 
it  is  Figaro  who  comes  in  for  cuffing  when- 
ever he  or  his  master  makes  a  mistake — 
which  is  frequent.  Finally  lights  are 
brought  on,  the  Count  realizes  that  he  has 
been  well  punished,  all  are  forgiven  and  the 
marriage  of  Figaro  is  approved. 


MARTHA 


Romantic  Opera  in  Five  Acts.  Music  by  Friedrich 
von  Flotow.  Book  by  St.  Georges  and  Friedrich. 
First  produced  at  Vienna,  November  25,  1847. 

SCENE:    Richmond,  England. 
TIME:    Reign  of  Queen  Anne. 


CAST 

LIONEL,  a  farmer  (Tenor). 
PLTTNKETT,  his  foster  brother  (Basso). 
LORD  TRISTAN,  a  courtier  (Baritone). 
LADY  HENRIETTA  DURHAM,  a  maid-of-honor 

(Soprano) . 

NANCY,  her  attendant  (Contralto). 
SHERIFF  OF  RICHMOND  (Baritone). 

Lords,  Ladies,  Farmers,  Servants, 
Citizens. 


185 


ARGUMENT 

One  of  the  most  graceful  of  the  light 
operas  is  "Martha,"  an  old  favorite  deal- 
ing with  love  as  opposed  to  pride. 

ACT  I 

The  Queen's  Court  at  Hampton.  Lady 
Henrietta,  a  maid-of -honor  to  Queen  Anne, 
has  become  weary  of  humdrum  court  life 
and  seeks  a  new  diversion.  She  talks  it 
over  with  her  sprightly  maid,  Nancy,  but 
does  not  fall  in  with  any  of  the  latter's 
fancies.  Lord  Tristan,  an  old  admirer, 
meets  with  as  little  success  when  he  pro- 
poses entertainments  for  the  day.  At  this 
moment  a  group  of  villagers  and  servants 
pass  singing  gaily  on  their  way  to  a  county 
fair.  Their  careless  happiness  appeals  to 
Henrietta.  She  and  Nancy  shall  go  to  the 
fair  also,  dressed  as  servants,  so  that  they 
can  mingle  freely  with  the  crowd.  It  will 
be  a  lark.  No  sooner  said  than  done. 
Lord  Tristan,  shocked,  tries  to  restrain 
them,  but  instead  is  pressed  into  service 
as  their  escort. 

186 


MARTHA  187 

ACT  II 

The  Market  at  Richmond.  Lionel  and 
Plunkett,  two  well-to-do  farmers  drive  to 
the  fair  in  search  of  household  servants. 
The  sheriff  arrives  and  proclaims  that  all 
contracts  of  this  nature  shall  be  binding 
upon  both  parties  for  a  full  year,  if  money 
is  advanced.  Just  after  this  announce- 
ment is  made,  Tristan  arrives  with  the 
two  girls  dressed  as  servants,  who  im- 
mediately capture  the  fancy  of  the  two 
farmers.  In  spite  of  Tristan's  efforts  to 
draw  them  away,  they  allow  the  farmers 
to  haggle  with  them  over  terms  and  finally 
accept  an  advance  payment  for  salaries. 
Without  knowing  it,  they  have  bound 
themselves  to  service  for  a  year.  When  the 
farmers  now  insist  upon  an  immediate  de- 
parture, objections  are  raised  by  the  other 
three.  But  the  crowd  prevents  Tristan 
from  rescuing  the  girls,  and  the  sheriff  de- 
clares that  they  must  go  with  their  new 
masters. 

ACT  III 

The  Farm  House.  Henrietta  has  taken 
the  name  of  Martha,  and  Nancy  that  of 


188  OPERA  SYNOPSES 


Julia.  Lionel  and  Plunkett  try  to  intro- 
duce them  to  their  duties  and  are  amazed 
at  their  ignorance  over  the  most  ordinary 
things,  such  as  spinning.  Plunkett  tries 
to  make  boisterous  love  to  "Julia"  but 
finds  her  sharp  tongue  more  than  a  match 
for  him.  Lionel  is  more  courteous  to 
"  Martha "  and  ends  by  falling  deeply  in 
love  with  her,  but  she  only  laughs  at  him. 
However,  she  relents  so  far  as  to  sing  for 
him  a  tender  little  ballad,  "'Tis  the  Last 
Rose  of  Summer,"  hoping  to  touch  his 
heart  so  that  he  will  release  her  from  that 
dreadful  contract.  After  the  two  men 
have  retired,  the  girls  make  their  escape 
through  a  window,  with  the  assistance  of 
Tristan. 

ACT  IV 

A  Country  Tavern.  While  Plunkett  is 
drinking  with  some  of  his  friends,  a  party 
of  hunters  from  the  court  enter,  and  he 
recognizes  among  them  his  lost  servant 
girl,  "Julia."  He  demands  that  she  go 
home  with  him  and  complete  her  contract, 
but  her  calls  for  help  bring  her  friends 
about  her  and  they  chase  Plunkett  out 
into  the  forest.  Next  Lionel  enters, 


MARTHA  189 


greatly  dejected  over  his  loss  of  "  Martha," 
when  whom  should  he  see  among  the  hunters 
but  the  girl  herself  as  a  court  lady.  He 
lays  claim  to  her  and  she  reproaches  him 
for  being  an  impertinent  bumpkin.  The 
others  think  him  a  madman,  and  she  is 
glad  to  have  this  construction  put  upon 
the  episode.  Plunkett  comes  to  his  friend's 
assistance  and  leads  him  away  thoroughly 
overcome  with  despair.  Henrietta's  heart 
is  touched  when  she  realizes  the  sincerity 
and  depth  of  his  passion. 

ACT  V 

Scene  1.  The  Farm  House.  Lionel's 
long-standing  claim  to  the  earldom  of  Derby 
is  decided  in  his  favor,  but  he  takes  no 
interest  in  the  matter.  He  is  almost  insane 
from  grief.  Henrietta  is  persuaded  to 
visit  him,  but  he  does  not  recognize  the 
"  Martha  "  of  his  dreams.  Nancy  and  Plun- 
kett come  to  an  understanding  and  arrange 
a  little  scene  to  restore  Lionel's  reason. 

Scene  2.  The  Fair  at  Richmond.  An- 
other fair  is  being  held,  and  Plunkett 
brings  his  friend  to  the  square  where  they 
had  first  met  the  girls.  Lo!  there  they  are 


190  OPERA  SYNOPSES 

again,  dressed  in  their  servant's  attire. 
Memory  and  reason  return  to  Lionel,  and 
when  "  Martha"  sings  again  to  him  the 
ballad  of  the  rose  his  cup  of  happiness  is 
full.  She  is  willing  to  become  his  wife. 


DIE  MEISTERSINGER 


VThe  Master-Singers).  Comic  Opera  in  Three 
Acts.  Music  by  Richard  Wagner.  Book  by  the 
Composer.  First  produced  at  Munich,  June  21, 
1868. 

SCENE  :    Nuremberg. 
TIME:    The  16th  Century. 


CAST 

HANS  SACHS,  a  cobbler  (Baritone). 
VEIT  POGNER,  a  goldsmith  (Basso). 
EVA,  his  daughter  (Soprano) . 
BECKMESSER,  the  town  clerk  (Baritone). 
KOTHNER,  a  baker  (Basso). 
WALTER  VON  STCLZING,  a  Knight  (Tenor). 
DAVID,  apprentice  to  Sachs  (Tenor). 
MAGDALENA,  maid  to  Eva  (Contralto). 
WATCHMAN  (Baritone). 

Master-singers,  Villagers,  Servants,  etc. 


191 


ARGUMENT 

"Die  Meistersinger "  is  the  only  comic 
opera  that  Wagner  wrote.  It  deals  with 
a  historic  time  in  Nuremberg  when  all  the 
tradespeople  wrote  verses  and  indulged  in 
singing  contests,  and  may  be  regarded  as 
Wagner's  protest  against  artificiality. 

ACT  I 

Interior  of  St.  Catherine's  Church.  The 
whole  town  of  Nuremberg  is  music-mad. 
The  master-singers,  or  head  men  in  this 
noble  profession,  hold  public  contests 
governed  by  rigid  rules,  and  the  victors  are 
richly  rewarded.  Veit  Pogner,  the  gold- 
smith, finally  announces  that  at  the  next 
contest  he  will  bestow  his  daughter's  hand 
upon  the  successful  man.  Beckmesser,  the 
town  clerk,  is  overjoyed  at  this,  as  he  has 
long  paid  court  to  the  fair  Eva,  and  thinks 
he  can  easily  win  the  contest.  But  Eva  has 
had  no  eyes  for  the  clerk.  She  has  noted 
the  respectful  attention  of  a  young  noble- 
man, Walter  von  Stolzing,  who  has  met 
192 


DIE  MEISTERSINGER  193 

her  at  the  Church  and  elsewhere.  Hearing 
of  the  contest,  Walter  resolves  to  enter  it, 
and  is  instructed  in  the  rules  by  David,  the 
apprentice  of  Hans  Sachs.  But  when 
Walter  first  appears  before  the  master- 
singers,  Beckmesser  keeps  the  score  and 
marks  down  so  many  mistakes  that  the 
young  man  is  ruled  out.  Hans  Sachs,  the 
cobbler,  is  the  only  one  who  speaks  in  his 
favor. 

ACT  II 

A  Street  in  Nuremberg.  On  one  side  is 
Sachs'  cobbler  shop,  on  the  other,  Pogner's 
house.  Eva  finds  an  opportunity  to  meet 
Walter  and  console  him  for  his  lack  of 
success.  She  says  that  she  will  not  abide 
by  her  father's  wishes,  if  some  one  else 
wins,  but  will  elope  with  him.  They 
hasten  to  conceal  themselves  as  Beck- 
messer comes  out  to  sing  a  serenade  under 
Eva's  window.  But  the  serenader  is  inter- 
rupted by  the  hammering  and  singing  of 
Sachs  in  his  shop.  Then  David  appears 
and  mistaking  the  attentions  of  Beck- 
messer as  being  directed  to  his  own  lady- 
love, he  pounds  the  clerk  over  the  head. 
Their  cries  draw  the  whole  village  upon  the 


194  OPERA  SYNOPSES 

scene  and  a  small-sized  riot  is  in  progress, 
which  ends  as  suddenly  as  it  began,  when 
the  watchman's  voice  is  heard  down  the 
street. 

ACT  III 

Scene  1.  The  Cobbler's  Shop.  While 
Sachs  and  his  apprentice  are  at  work, 
Walter  comes  in  greatly  elated.  He  says 
that  he  has  dreamed  a  song  so  beautiful 
that,  if  he  can  set  it  down,  it  will  win  the 
prize.  Sachs  encourages  him  and  they 
finally  commit  it  to  a  manuscript.  Beck- 
messer  learns  of  this  famous  song  and 
steals  the  manuscript,  planning  to  sing  it 
as  his  own.  Eva  comes  in  to  try  on  some 
new  shoes,  and  all  plan  for  the  coming  con- 
test. 

Scene  2.  An  Open  Field.  The  morning 
of  the  song-fest  has  arrived  and  the  dif- 
ferent trade-guilds  bring  forward  their 
noted  singers.  Sachs  alone  champions 
Walter,  who  is  not  concerned  over  the  loss 
of  his  manuscript.  His  song  is  superior  to 
the  master-singers'  rules  anyway.  Beck- 
messer  tries  to  sing  the  stolen  song,  but 
his  memory  proves  treacherous  and  he 


DIE  MEISTERSINGER  195 

makes  a  laughable  jumble  of  it.  Walter  is 
grudgingly  allowed  to  follow  and  speedily 
wins  all  his  hearers  by  his  song.  He  is 
accorded  the  prize,  and  Pogner  bestows 
upon  him  the  hand  of  the  happy  Eva. 


THE    MIKADO 


Comic  Opera  in  Two  Acts.  Music  by  Arthur  S. 
Sullivan.  Book  by  William  S.  Gilbert.  First 
produced  at  the  Savoy  Theatre,  London,  March 
14,  1885. 

SCENE:    "Titipu,"  Japan. 
TIME:     Middle  Ages. 


CAST 

THE  MIKADO  OF  JAPAN  (Basso). 
NANKI-POO,  his  son,  "a  wandering  minstrel" 

(Tenor). 

Ko-Ko,  the  Lord  High  Executioner  (Baritone). 
POOH-BAH,  Lord  High  everything  else 

(Baritone). 
YUM  YUM,  Ko-Ko's  ward,  "from  school" 

(Soprano). 

PEEP-BO     1  her  friends  the  other 
PiTTi-SiNG/  "little  maids  from  school" 
\  Soprano. 
\  Mezzo-Soprano). 
KATISHA,  a  lady  at  court  (Contralto). 
PISH-TUSH,  a  courtier  (Basso). 

Courtiers,  Citizens,  Servants. 
197 


ARGUMENT 

"  The  Mikado  "  may  be  called  a  spright- 
ly travesty  upon  Japan,  which  yet  con- 
tains little  beyond  its  costuming  to  identify 
it  with  that  country.  The  music  does  not 
pretend  to  be  Oriental,  but  is  pleasingly 
English.  This  has  remained  the  most 
popular  of  the  Gilbert  and  Sullivan  operas. 

ACT  I 

A  Street  in  Titipu.  Nanki-Poo,  the  son 
of  the  Mikado,  runs  away  from  the  court 
rather  than  marry  Katisha,  an  elderly 
lady.  As  a  travelling  minstrel,  he  goes 
from  town  to  town,  none  knowing  his  true 
rank.  In  Titipu  he  sees  and  falls  in  love 
with  Yum-Yum,  the  ward  of  Ko-Ko,  who 
with  her  two  young  friends,  is  just  home 
from  school.  Yum-Yum  reciprocates  the 
passion,  to  the  disgust  of  Ko-Ko,  who  has 
planned  to  marry  his  ward  himself,  and 
thus  secure  her  property.  At  this  juncture, 
Pooh-Bah  arrives.  He  is  the  purveyor  of 
state  secrets  and  holds  every  office  except 
198 


THE  MIKADO  199 


that  of  Lord  High  Executioner,  the  office 
.of  Ko-Ko.  The  latter  is  by  trade  a  tailor 
and  is  naturally  a  craven-hearted  fellow, 
who  dislikes  to  shed  blood.  Hence  there 
hasn't  been  an  execution  since  he  has  been 
in  office — a  displeasing  state  of  affairs  to 
the  Mikado,  who  sends  word  that  unless 
somebody  is  beheaded  within  the  next 
month,  Ko-Ko  will  be  deposed.  In  this 
dilemma  Nanki-Poo  comes  forward  and 
says  that  if  he  is  allowed  to  marry  Yum- 
Yum  and  live  with  her  a  month,  they  may 
execute  him.  This  plan  is  agreed  upon. 

ACT  II 

Home  of  Yum- Yum.  Preparations  are 
actively  forward  for  the  wedding  of  Yum- 
Yum  and  Nanki-Poo,  but  the  ardor  of  the 
lovers  is  cooled  by  Ko-Ko,  who  announces 
that  he  has  discovered  an  old  law  saying 
that  when  a  married  man  is  beheaded  his 
wife  must  be  buried  alive.  In  order  to 
save  his  bride,  Nanki-Poo  magnanimously 
offers  to  stab  himself  neatly  and  with  des- 
patch. But  this  will  not  serve  Ko-Ko's 
purpose,  so  in  his  dilemma,  he  makes  up  a 
false  statement  as  to  the  execution.  At 


200  OPERA  SYNOPSES 


this  juncture  the  Mikado  arrives  and 
listens  with  gusto  to  a  full  account  of  the 
victim's  last  agonies  until  he  discovers  that 
it  is  his  own  son  they  are  talking  about. 
Then  he  decrees  that  the  Lord  High  Execu- 
tioner shall  be  put  into  boiling  oil,  or  suffer 
some  other  lingering  death,  for  his  blunder. 
Nanki-Poo  is  therefore  brought  to  life  to 
save  all  concerned,  and  Ko-Ko's  worst 
punishment  is  to  be  compelled  to  marry 
Katisha. 


MONA 

Dramatic  Opera  in  Three  Acts.  Music  by  Horatio 
Parker.  Book  by  Brian  Hooker.  The  "Ten 
Thousand  Dollar  Prize  Opera"  of  the  Metro- 
politan Opera  House,  New  York.  First  produced 
there  during  the  season  of  1911-12. 

SCENE:    Southwestern  Britain. 
TIME:   Circa  100  A.  D. 


CAST 

ROMAN  GOVERNOR  (Baritone). 

QUINTUS,   his  son,  known  to  the  Britons  as 

Gwynn  (Tenor). 

ARTH,  a  British  Tribesman  (Basso). 
ENYA,  his  wife  (Soprano). 
GLOOM,  their  son,  a  Druid  (Baritone). 
CARADOC,  chief  bard  of  Britain  (Baritone). 
NIAL,  a  changeling  (Tenor). 

MONA,  Princess  of  Britain  (Mezzo-Soprano) 
Soldiers,  Druids,  Bards,  Britona . 


201 


ARGUMENT 

"Mona"  tells  the  dramatic  story  of  an 
early  princess  of  Britain,  who  endeavors 
to  win  by  war  the  freedom  of  her  people, 
and  who  finds  too  late  that  the  gentler  arts 
of  love  which  she  forswore  would  have  won 
the  prize  she  sought. 

ACT  I 

Interior  of  Arth's  Forest  Hut.  While  the 
fiery  Britons  chafe  under  the  military  sway 
of  Rome,  the  Druids  seek  a  chieftain  who 
shall  again  lead  them  against  the  invaders. 
They  find  one  in  Mona,  last  of  the  line  of 
the  warlike  Boadicea,  who  has  been  reared 
as  the  foster  child  of  Arth  and  Enya. 
Mona  is  beloved  by  Gwynn,  a  man  of  peace 
who  endeavors  to  reconcile  the  Romans 
and  the  Britons.  Unknown  to  her  he  is 
the  son  of  the  Roman  Governor  by  a  cap- 
tive British  woman  and  has  more  than  once 
stood  between  the  warring  factions.  He 
endeavors  to  persuade  Mona  to  forsake  her 
warlike  traits  and  wed  with  him,  but  she 
feels  that  her  destiny  is  linked  with  her 
country,  even  as  was  that  of  Boadicea. 
202 


MONA  203 

ACT  II 

A  Druidic  Temple  in  the  Forest.  The 
Roman  Governor  finds  that  the  Druids  are 
again  holding  their  ancient  rites,  a  sign 
that  an  uprising  is  planned.  But  Gwynn, 
his  son  (known  to  the  Romans  as  Bren- 
nius)  believes  that  he  can  obtain  peace  for 
the  country  by  winning  the  heroic  Mona  as 
his  wife.  The  Governor  cynical  lets  him 
try  the  plan.  Mona  is  found  by  Gwynn 
after  one  of  the  Druidic  conclaves  and  is 
compelled  to  confess  her  love,  after  a 
stormy  scene  of  wooing.  But  she  instantly 
repents  her  womanly  weakness  when 
Gwynn  tells  her  he  is  Roman  born.  She 
summons  her  people  who  take  Gwynn 
prisoner. 

ACT  III 

The  Forest  before  a  Roman  Town.  Nial, 
the  half-witted  changeling,  and  Enya, 
watch  the  battle  with  the  Romans  at  the 
walls  of  the  town.  The  Romans  have  been 
warned  and  drive  the  Britons  back.  Mona 
is  carried  in  by  the  retreating  forces  but  is 
unwounded.  To  her  aid  comes  Gwynn, 
who  has  been  released  in  the  melee^  and 


204  OPERA  SYNOPSES 

once  again  offers  her  his  love  and  protec- 
tion. He  confesses  his  identity  to  her  but 
she  will  not  believe.  She  thinks  he  has 
been  a  spy,  and  in  an  excess  of  mistaken 
devotion  to  her  country  she  slays  him  un- 
resistingly. The  Romans  pursue  the  enemy 
and  Mona  is  brought  face  to  face  with  the 
Governor  and  learns  the  truth — that 
Gywnn  was  the  best  friend  of  Britain  and 
with  him  perished  the  hope  of  peace.  Mona 
realizes  that  by  denying  her  womanhood 
she  has  missed  happiness  for  herself  and  the 
true  welfare  of  her  country. 


NATOMA 


Romantic  Opera  in  Three  Acts.  Music  by  Victor 
Herbert.  Book  by  Joseph  D.  Redding.  First 
produced  at  the  Philadelphia  Opera  House,  Feb- 
ruary 25,  1911,  and  at  the  Metropolitan  Opera 
House,  New  York,  February  28,  1911. 

SCENE:    Southern  California. 

TIME:     1820,  during  Spanish  Occupation. 


CAST 

NATOMA,  an  Indian  maiden  (Soprano). 
BARBARA,  her  mistress  (Soprano). 
PAUL  MERRILL,  lieutenant  U.  S.  N.  (Tenor). 
DON  FRANCISCO,  Barbara's  father  (Basso). 
FATHER  PERALTA,  a  Monk  (Baritone). 
JUAN  BAUTISTA  ALVARADO,  a  Spaniard 

(Tenor). 
JOSE  CASTRO,  his  companion,  a  half-breed 

(Baritone). 

Pico,  a  Spaniard  (Baritone). 
KAGAMA,  a  Spaniard  (Baritone). 

Spanish  Citizens,  Indians,  American  Soldiers, 
Nuns,  Servants,  etc. 


205 


ARGUMENT 

"  Natoma "  is  so  entitled  from  the  chief 
character,  an  Indian  maiden  who  typifies 
the  higher  and  poetic  side  of  her  people. 
The  opera's  plot  represents  a  fusing  of 
three  diverse  strains,  the  Indian,  Spanish, 
and  American  (English),  and  is  also  inter- 
esting as  having  an  English  libretto. 

ACT  I 

The  Island  of  Santa  Cruz.  Don  Fran- 
cisco, a  wealthy  Spaniard,  has  sent  his 
daughter  off  to  a  convent  on  the  mainland 
to  perfect  her  education.  She  is  now  ex- 
pected back  and  all  are  eagerly  anticipating 
her  arrival:  her  father  who  has  sadly 
missed  her;  Alvarado,  a  young  Spaniard 
who  has  long  paid  her  court,  but  in  vain; 
and  Natoma  her  Indian  maid  and  com- 
panion who  worships  her  devotedly.  There 
is  still  another  who  awaits  Barbara's 
arrival  with  some  interest — Lieutenant 
Merrill,  of  the  United  States  Navy,  whose 
duties  bring  him  to  these  still-Spanish 
shores.  Natoma  has  lost  her  heart  to  the 
206 


N ATOM A  207 

officer,  but  he  treats  her  as  a  mere  child  of 
the  forest.  She  launches  into  a  glowing 
description  of  her  mistress's  charms,  until 
she  suddenly  realizes  that  this  handsome 
young  American  will  fall  a  victim  to  them 
and  forget  her,  Natoma.  Thenceforth, 
her  heart  is  torn  between  two  emotions, 
love  and  loyalty. 

Barbara  arrives  amid  great  acclamation. 
She  and  the  lieutenant  speedily  become 
interested  in  each  other,  just  as  Natoma 
had  feared.  In  the  evening  a  dance  is 
given,  and  Alvarado  realizes  that  he  has  a 
formidable  rival.  He  is  repulsed  by  Bar- 
bara and  plots  with  Castro,  his  half-breed 
servant,  to  abduct  her.  Natoma  overhears 
the  plot  and  plans  to  frustrate  it. 

ACT  II 

Public  Square  in  Santa  Barbara.  It  is 
Fair  day  at  the  old  Spanish  town  of  Santa 
Barbara,  and  interest  in  the  occasion  is 
heightened  by  a  visit  from  the  American 
marines.  A  dance  is  held  in  the  open 
square,  each  young  Spaniard  inviting  his 
lass  to  join  him  in  the  whirling  figures. 
Alvarado  attempts  to  show  in  public  that 


208  OPERA  SYNOPSES 

he  has  a  claim  upon  Barbara  by  inviting 
her  somewhat  peremptorily  to  dance.  She 
hesitates,  but  when  her  father  consents, 
she  reluctantly  becomes  his  partner.  His 
manner  angers  her  and  she  breaks  away 
from  him.  He  tries  to  compel  her,  and 
when  she  refuses,  watches  her  like  a  hawk 
to  seize  and  carry  her  away.  Castro 
and  several  of  his  accomplices  are  at  hand. 
To  divert  the  general  attention,  Castro 
now  challenges  any  one  to  join  him  in  the 
dangerous  dagger  dance.  A  circle"  is 
formed  and  he  thrusts  his  dagger  in  the 
ground  defiantly.  After  a  pause,  Natoma 
rushes  forward  and  thrusts  her  own 
weapon  by  its  side.  Then  they  dance 
warily  around,  each  seeking  to  become 
possessed  of  the  other's  weapon.  Finally, 
Natoma  springs  forward  like  a  cat,  knocks 
the  half-breed's  weapon  aside,  and  dashing 
across  to  Alvarado,  who  is  about  to  seize 
Barbara,  stabs  him  to  the  heart.  The  vil- 
lagers crowd  forward  to  seize  her,  but 
Merrill  and  his  marines  protect  her  from 
violence.  The  priest  appears  at  the  church 
door  saying:  "  Vengeance  is  mine,  I  will 
repay,  saith  the  Lord,"  and  Natoma  seeks 
sanctuary  within  the  walls  of  the  Church. 


N  ATOM  A  209 

ACT  III 

Interior  of  the  Church.  Natoma  crouch- 
es alone  in  the  Church  still  torn  by  an  inner 
conflict.  The  fierce  blood  of  her  ancestors 
yet  courses  through  her  veins  and  she 
dreams  again  of  the  old  life  of  the  forest. 
She  has  no  remorse  for  her  bloody  deed, 
but  she  does  not  wish  to  give  up  the  lieu- 
tenant, even  to  her  beloved  mistress.  The 
priest  enters  and  she  rails  at  him,  but  his 
stern  words  of  admonition  finally  reach  her 
heart  and  she  decides  to  renounce  all  and 
enter  the  Church.  The  worshippers  arrive, 
among  them  Barbara  and  Merrill,  but  the 
Indian  girl  gives  them  no  heed.  Mass  is 
celebrated  and  the  sisterhood  is  seen  pro- 
ceeding through  their  sunlit  garden.  Then 
Natoma  bids  her  mistress  farewell  and 
goes  through  the  open  doors  to  take  the 
veil. 


THE  NIBELUNGEN  RING 
I.   DAS  RHEINGOLD 

(The  Rhine-Gold).  A  Music-Drama  in  Four  Acts. 
Music  by  Richard  Wagner.  Book  by  the  Com- 
poser. First  produced  at  Munich,  August  25, 
1869,  and  authoritatively  at  Baireuth,  August 
3,  1876. 

SCENE:     Germany  and  the  Upper  and 
Nether  worlds. 

TIME  :    Antiquity. 

CAST 

WOTAN,  the  mighty  (Basso). 
FRICKA,  his  spouse  (Mezzo-Soprano) . 
DONNER,  god  of  thunder  (Basso). 
FROH,  god  of  rain  (Baritone). 
LOKI,  god  of  fire  (Tenor). 
FREYA,  goddess  of  love  (Soprano). 
ALBERICH,  a  dwarf  (Baritone). 
MIME,  a  dwarf  (Tenor). 
WOGLINDE,  Rhine-maiden  (Soprano). 
WELLGUNDE,  Rhine-maiden  (Soprano). 
FLOSSHILDE,  Rhine-maiden  (Contralto). 
FAFNER,  a  giant  (Basso) . 
FASOLT,  a  giant  (Basso). 
ERDA,  spirit  of  the  Earth  (Contralto). 

Gods  and  Goddesses,  Dwarfs,  and  Spirits. 
211 


ARGUMENT 

"Rheingold,"  the  first  of  the  four  operas 
forming  the  "Ring"  series,  tells  the  story 
of  how  the  magic  ring  came  to  be  made,  and 
how  its  curse  rested  upon  all  who  came  in 
contact  with  it,  whether  gods  or  men. 

ACT  I 

The  Bottom  of  the  River  Rhine.  Down 
in  the  bed  of  the  River  Rhine  a  mass  of  pure 
gold  has  been  hidden.  It  is  magic  treasure 
conferring  upon  its  owner  boundless  power, 
but  whoever  possesses  it  must  forswear 
love.  The  three  Rhine-maidens  have  been 
entrusted  with  the  duty  of  guarding  the 
gold,  and  they  turn  the  task  into  a  sport, 
singing  and  dancing  among  the  grottoes 
beneath  the  water,  but  never  venturing  far 
from  their  charge.  Alberich  the  dwarf, 
greedy  for  gold,  surprises  them  one  morning 
in  their  games.  They  coquet  with  him  and 
lead  him  on,  finally  letting  him  know  the 
secret  of  the  gold.  He  pretends  to  be 
interested  in  them  and  indifferent  to  the 
212 


DAS  RHEINGOLD  213 

treasure,  but  when  their  carelessness  gives 
him  an  opportunity  he  seizes  upon  the 
glittering  mass  and  makes  off  with  it,  de- 
claring that  he  will  forswear  love  forever 
in  order  to  be  master  of  the  world. 

ACT  II 

The  Gardens  of  Walhalla,  Abode  of  the 
Gods.  The  giants  Fasolt  and  Fafner  have 
built  the  beautiful  castle  Walhalla  for  the 
abode  of  the  gods.  Loki,  the  god  of  fire, 
who  is  the  embodiment  of  deceit,  has  per- 
suaded Wotan  the  mighty  to  accept  the 
giants'  terms  for  their  labor,  and  when  they 
have  completed  the  stupendous  task  they 
demand  Freya,  goddess  of  love,  as  their 
reward  and  carry  her  off  despite  the  en- 
treaties of  all  the  other  immortals.  With- 
out the  presence  of  Freya  the  flowers  wither 
and  die,  the  trees  refuse  to  bear  fruit,  and 
the  gods  begin  to  grow  old.  The  only  way 
in  which  the  giants  can  be  induced  to  re- 
store the  goddess  is  by  a  bribe  of  the  magic 
gold.  Wotan  and  Loki  go  in  search  of  this 
treasure  which  is  now  jealously  guarded  by 
the  dwarfs  in  the  earth-caverns. 


214  OPERA  SYNOPSES 

ACT  III 

The  Dwarfs'  Caverns.  Alberich  gloats 
over  his  treasure,  and  to  watch  over  it 
more  carefully  he  has  commanded  Mime 
the  smith  to  fashion  for  him  a  tarnhelm  or 
invisible  cap  which  enables  him  to  assume 
any  shape  he  pleases.  He  has  also  fash- 
ioned from  the  gold  a  ring  which  confers 
upon  its  wearer  power  over  gods  and  men. 
Wotan  and  Loki  enter  to  confer  with  Al- 
berich and  he  boastingly  displays  his 
powers  by  changing  himself  first  into  a 
dragon  and  then  into  a  toad — the  last 
at  a  sly  suggestion  from  Loki.  Wotan  then 
quickly  places  his  foot  upon  the  toad,  and 
will  not  release  his  squirming  victim  until 
he  has  given  up  all  his  treasures  including 
the  cap  and  the  ring.  Alberich,  however, 
puts  a  curse  upon  all  who  shall  hereafter 
wear  the  ring. 

ACT  IV 

The  Gardens  of  Walhalla.  The  gods 
carry  the  gold  in  triumph  to  Walhalla,  and 
the  giants  are  summoned  to  the  parley. 
They  return  with  Freya  and  the  treasure 
is  heaped  before  her  to  excite  their  cupidity. 


DAS  RHEINGOLD  215 

Wotan  secretly  hopes  to  retain  the  cap  and 
the  ring,  but  they  insist  upon  these  also  and 
threaten  otherwise  to  carry  off  the  goddess 
again.  Wotan  is  compelled  to  yield  al- 
though he  foresees  in  the  terms  the  ultimate 
destruction  of  the  gods.  The  curse  of  the 
ring  is  shown  in  an  immediate  quarrel  be- 
tween the  giants,  in  which  Fafner  kills 
Fasolt.  While  the  gods  pass  over  a  rainbow 
bridge  to  their  new  mansion  of  Walhalla, 
the  voices  of  the  Rhine-maidens  are  heard 
below  lamenting  their  loss. 


THE  NIBELUNGEN  RING 
II.    DIE  WALKURE 


(The  Valkyrie).  Music-Drama  in  Three  Acts. 
Music  by  Richard  Wagner.  Book  by  the  Com- 
poser. First  produced  at  Munich,  June  24, 1870, 
and  authoritatively  at  Baireuth,  August  14,  1876. 

SCENE  :    The  Forests  of  Germany. 
TIME  :    Antiquity. 


CAST 

WOTAN,  the  mighty  (Basso). 
FBICKA,  his  spouse  (Mezzo-Soprano). 
HUNDINO,  a  warrior  (Basso). 
SIEGLINDE,  his  wife  (Soprano). 
SIEGMUND,  her  brother  (Tenor). 
BBUNHILDE,  a  Valkyr  (Soprano). 
OTHER  VALKYRIE  (Sopranos). 


217 


ARGUMENT 

In  order  to  understand  the  purport  of 
"  Die  Walkiire"  as  related  to  the  "  Ring"  a 
certain  amount  of  narrative  is  necessary 
which  is  not  represented  upon  the  stage. 

Wotan,  foreseeing  the  doom  of  the  gods 
because  they  are  pledged  to  respect  the 
power  of  the  magic  ring,  endeavors  to  pro- 
tect Walhalla  by  creating  a  band  of  Val- 
kyrie or  warrior-maidens  whose  duty  it  is 
to  convey  on  their  winged  steeds  the  bodies 
of  the  noblest  warriors,  slain  upon  the  field 
of  battle,  to  the  abode  of  the  gods,  where 
these  warriors  will  live  again  a  mighty  race 
to  defend  Walhalla.  Upon  the  earth,  also, 
Wotan  has  begotten  two  children  of  his 
own,  Siegmund  and  Sieglinde,  who  grow  up 
in  ignorance  of  each  other. 

ACT  I 

The  Forest  Hut  of  Hunding.     The  hut 
of  the  warrior  Hunding  is  built  around  the 
great  trunk  of  an  ash  tree,  which  pierces 
218 


DIE  WALKURE  219 

the  center  of  the  roof.  Here  Hunding 
dwells  with  his  wife,  Sieglinde,  whom 
he  carried  away  from  her  home  in  child- 
hood, against  her  will.  She  has  been 
promised  a  protector,  however,  by  a 
mysterious  stranger  who  drives  his  sword 
up  to  the  hilt  in  the  ash;  and  the  protector 
will  be  known  by  his  ability  to  withdraw 
the  weapon. 

On  the  night  when  the  scene  opens 
Hunding  is  away  and  Sieglinde  opens  the 
door  to  an  exhausted  stranger  who  begs 
food  and  drink.  It  is  Siegmund,  a  mortal 
enemy  of  Hunding,  who  has  taken  refuge 
here  against  his  foes.  Hunding  returning 
finds  him  here  and  grants  him  hospitality 
for  the  night,  but  challenges  him  to  combat 
the  next  morning.  Meanwrhile  Siegmund 
and  Sieglinde  feel  irresistibly  drawn  to  each 
other.  When  Hunding  retires  the  woman 
prepares  a  sleeping  potion  which  holds  him 
in  a  stupor.  She  tells  her  story  to  Sieg- 
mund and  they  discover  their  near  relation- 
ship. He  finds  that  he  can  easily  draw  the 
sword  from  the  oak  (it  was  Wotan  who 
placed  it  there),  and  the  two  flee  forth  into 
the  forest. 


220  OPERA  SYNOPSES 

ACT  II 

A  Mountain  Pass.  It  has  been  the  will 
of  Wotan  that  his  two  earth  children  shall 
meet  and  mate,  but  he  finds  unexpected 
opposition  to  his  plan  from  Fricka  his 
spouse.  She  is  scandalized  by  this  in- 
fraction of  marital  laws,  and  demands  that 
he  punish  the  guilty  pair.  He  is  finally  pre- 
vailed upon  to  summon  Brunhilde,  his 
favorite  among  the  Valkyr  maidens,  and  he 
charges  her  to  deliver  over  Siegmund  to  his 
enemy.  Brunhilde  pleads  for  the  warrior 
but  in  vain;  she  must  on  no  account  dis- 
obey this  mandate  even  though  she  knows 
it  is  against  the  wishes  of  Wotan  himself. 
She  encounters  the  lovers  in  a  mountain 
pass,  whither  they  are  being  pursued  by 
Hunding,  and  warns  Siegmund  of  his  fate; 
then  won  over  by  his  pleas  she  resolves  to 
shield  him  at  any  cost.  Hunding  arrives 
and  engages  him  in  battle.  The  Valkyr 
protects  Siegmund.  Amid  thunder  and 
lightning  Wotan  appears  and  shivers  Sieg- 
mund's  sword,  and  the  latter  is  slain  by 
Hunding,  who  falls,  in  turn,  by  a  stroke 
from  Wotan's  spear.  Brunhilde  flees  from 
the  wrath  of  Wotan  carrying  with  her  Sieg- 
linde  whom  she  conceals. 


DIE  WALKURE  221 

ACT  III 

Haunt  of  the  Valkyrie.  Wotan  goes 
forth  to  seek  and  punish  his  disobedient 
Valkyr.  Brunhilde  implores  her  sisters  to 
succor  her,  but  they  are  fearful  of  Wotan's 
anger.  They  promise,  however,  to  watch 
over  Sieglinde.  The  latter  is  comforted  by 
Brunhilde  and  told  that  she  shall  have  a 
son  who  will  prove  the  greatest  of  heroes; 
meanwhile  she  is  to  hide  from  gods  and 
men  and  preserve  the  broken  bits  of  the 
sword  of  Siegmund.  Wotan  approaches 
and  orders  Brunhilde  to  stand  before  him. 
A  stormy  and  pathetic  scene  ensues  in 
which  he  at  first  consigns  her  harshly  to  a 
fate  worse  than  death.  She  is  banished 
from  Walhalla  and  is  to  fall  asleep,  to  be 
claimed  upon  waking  by  the  first  passer-by. 
Her  entreaties  finally  mitigate  this  sen- 
tence, and  Wotan  places  her  upon  an  almost 
inaccessible  mountain  peak  hedged  round 
about  by  magic  flames.  Only  a  hero  would 
pierce  this  circle  of  flames,  and  such  a  hero 
shall  claim  Brunhilde  as  his  wife. 


THE  NIBELUNGEN  RING 
III.     SIEGFRIED 

Music-Drama  in  Three  Acts.  Music  by  Richard 
Wagner.  Book  by  the  Composer.  First  pro- 
duced at  Baireuth,  August  15, 1876. 

SCENE  :     The  German  Forests. 
TIME:     Antiquity. 


CAST 

WOTAN,  the  mighty  (Basso). 
SIEGFRIED,  the  hero  (Tenor). 
MIME,  the  smith  (Tenor). 
ALBERICH,  the  dwarf  (Baritone). 
FAFNEU,  the  dragon  (Basso). 
BRUNHILDE,  a  Valkyr  (Soprano). 
THE  WOOD  BIRD  (Soprano). 


223 


ARGUMENT 

"Siegfried"  continues  the  story  of  the 
Ring  at  a  period  some  twenty  years  later 
than  the  events  of  "  Die  Walkure." 

As  Brunhilde  has  foretold,  Sieglinde 
bears  a  son  to  the  slain  Siegmund,  and  she 
also  dies  at  the  child's  birth.  He  is  shel- 
tered by  Mime  the  dwarf  who  teaches  him 
the  smith's  trade.  But  Siegfried,  as  he 
is  called,  has  the  blood  of  warriors  and 
hunters  in  his  veins  and  soon  domineers 
over  the  craven  fellow. 

ACT  I 

The  Forest  Forge  of  Mime.  When  Sieg- 
fried has  arrived  at  young  manhood  he 
orders  Mime  to  forge  for  him  a  sword;  but 
none  which  is  made  suits  him;  he  speedily 
breaks  them  all.  The  fragments  of  Sieg- 
mund's  sword  have  been  preserved,  and  one 
day  in  the  young  man's  absence  Wotan 
enters  the  smithy  and  tells  Mime  that 
Siegfried  is  destined  to  forge  from  these 
fragments  an  invincible  weapon.  This 
makes  Mime  more  frightened  than  ever, 
224 


SIEGFRIED  225 


but  he  cannot  stay  the  hand  of  fate.  The 
young  hunter  returning  is  disgusted  with 
Mime's  work  and  seizing  the  pieces  of  the 
old  sword  forges  his  own  weapon.  When  it 
is  cooled  and  tempered  he  tests  it  by  split- 
ting the  anvil  in  two  from  top  to  bottom. 
He  calls  the  weapon  "  Helpneed." 

ACT  II 

The  Forest  before  the  Dragon's  Cave. 
For  all  these  years  Fafner  has  guarded  the 
magic  gold  jealously.  The  better  to  do  so 
he  has  assumed  the  form  of  a  dragon,  who 
dwells  within  a  cavern  in  the  depths  of  the 
forest.  On  the  outside  loiters  Alberich,  the 
greedy  dwarf,  still  trying  to  regain  the 
treasure.  Wotan  finds  him  here  and  warns 
him  that  a  hero  is  coming  who  is  stronger 
than  them  all.  Meanwhile  Siegfried  has 
been  told  of  the  dragon  by  Mime,  who 
endeavors  thus  to  frighten  him,  but  the 
news  only  fires  the  young  man's  spirit  and 
he  resolves  to  christen  the  new  sword  in  a 
combat  with  Fafner.  On  his  way  thither 
the  Wood  Bird  sings  to  him  warningly  but 
Siegfried  does  not  understand  and  goes  on 
his  way.  He  summons  Fafner  from  his  lair 


226  OPERA  SYNOPSES 

and  in  the  fight  slays  him.  A  drop  of  the 
dragon's  blood  touches  his  tongue  and  in- 
stantly he  understands  the  wood  voices. 
The  Bird  has  told  him  that  Mime  is  trying 
to  poison  him.  He  is  also  told  of  the  magi- 
cal properties  of  the  ring,  which  he  puts  on. 
He  kills  Mime,  and  follows  the  Bird  who 
tells  of  other  adventures  in  store.  The 
sleeping  Brunhilde  on  the  mountain-top, 
surrounded  by  fire,  awaits  a  hero  to  awaken 
her.  The  Bird  shows  him  the  path  up  the 
mountain. 

ACT  III 

A  Mountain  Pass.  Erda,  the  earth- 
spirit,  has  warned  Wotan  of  the  impending 
doom  of  the  gods.  He  therefore  resolves  to 
stop  Siegfried  in  his  journey  up  the  moun- 
tain. But  the  latter  undaunted  shivers  the 
great  Wotan's  spear  with  his  sword,  Help- 
need,  and  Wotan  stands  aside  knowing  that 
the  progress  of  events  cannot  be  stayed. 
Neither  is  Siegfried  deterred  by  the  wall  of 
flame  which  encircles  the  peak.  He  pushes 
through  it  and  it  dies  away  leaving  him 
unscathed.  He  finds  Brunhilde  in  her  war- 
rior's garb  and  awakens  her.  She  discovers 
his  identity  and  willingly  foregoes  her  im- 
mortal qualities  for  the  sake  of  his  love. 


THE  NIBELUNGEN  RING 

IV.       GOTTERDAMMERUNG 


(The  Dusk  of  the  Gods.)  Music-Drama  in  a  Pre- 
lude and  Three  Acts.  Music  by  Richard  Wag- 
ner. Book  by  the  Composer.  First  produced  at 
Baireuth,  August  16,  1876. 

SCENR:     The  German  Forests. 
TIME  :    Antiquity. 


CAST 

SIEGFRIED,  the  hero  (Tenor). 
BRUNHILDE,  the  Valkyr  (Soprano). 
GUNTHER,  a  king  (Baritone). 
GUTRUNE,  his  sister  (Soprano). 
ALBERICH,  the  dwarf  (Baritone). 
HAGEN,  his  son  (Basso). 
VALTRAUTE,  a  Valkyr  (Mezzo-Soprano). 
THE  NORNS,  spinners  of  fate  (Mezzo- 
Sopranos). 
THE  RHINE-MAIDENS  (Sopranos). 


227 


ARGUMENT 

The  last  of  the  Ring,  "  Gotterdam- 
merung,"  brings  to  a  close  the  adventures 
and  fates  of  the  chief  characters.  The 
downfall  of  the  gods  is  at  hand,  and  the 
ring  of  the  curse  completes  its  fatal  mission. 

PRELUDE 

The  Norns  who  control  the  fates  of  both 
men  and  gods  weave  their  thread  of  life  and 
it  breaks.  They  know  by  this  token  that 
the  destruction  of  all  things  is  at  hand. 
Siegfried  parts  from  Brunhilde  in  order  to 
go  upon  new  adventures,  but  meanwhile 
gives  her  the  ring  to  wear  while  he  is  gone. 
He  takes  with  him  the  Tarnhelm,  or  invis- 
ible cap,  and  Helpneed,  the  sword,  and 
Brunhilde  lends  him  her  steed  to  ride. 

ACT  I 

Scene  1.  Gunther's  Court.  Siegfried 
proceeds  to  the  court  of  Gunther,  a  power- 
ful king,  who  welcomes  him  cordially. 
Hagen  the  cunning  son  of  Alberich  is  one  of 

228 


GOTTERDAMMERUNG  229 

the  court,  and  knowing  of  Siegfried's  deeds 
he  brews  the  hero  a  drink  which  causes  him 
to  forget  all  his  past.  The  memory  of 
Brunhilde  fades  away,  and  he  asks  of  Gun- 
ther  the  hand  of  his  fair  sister  Gutrune  in 
marriage.  The  King  consents  on  condition 
that  Brunhilde  is  secured  for  himself,  and 
the  forgetful  Siegfried  agrees  to  go  with 
Gunther  and  compel  her  to  yield. 

Scene  2.  A  Mountain  Pass.  While  Brun- 
hilde awaits  the  return  of  her  warrior,  Valt- 
raute,  another  Valkyr  maiden,  comes  to 
plead  with  her  to  restore  the  ring  to  the 
Rhine-maidens.  Thus  only  can  the  gods  be 
spared  from  destruction.  But  Brunhilde 
answers  scornfully  that  the  gods  have  not 
been  kind  to  her,  and  besides  the  ring  is  not 
her  own.  By  means  of  the  Tarnhelm,  Sieg- 
fried assumes  the  shape  of  Gunther  and 
comes  to  claim  Brunhilde  as  his  wife.  She 
struggles  against  him  but  is  overpowered, 
and  he  wrests  the  ring  from  her  ringer.  She 
is  compelled  to  follow  him  back  to  Gun- 
ther's  court. 

ACT  II 

Gunther's  Court.  The  King  publicly 
proclaims  Brunhilde  as  his  Queen,  and 


230  OPERA  SYNOPSES 

gives  Siegfried  the  hand  of  Gutrune.  Brun- 
hilde  cannot  understand  this  arrangement 
and  suspects  treachery  when  she  sees  the 
ring  on  Siegfried's  hand.  She  upbraids  him 
for  fickleness  and  falseness,  but  he  is  still 
under  the  influence  of  the  drug  and  pays 
little  heed  to  her.  Her  former  love  turns  to 
rage  and  she  listens  willingly  to  Hagen's 
plots  to  slay  Siegfried.  Hagen  believes 
that  he  can  thus  secure  the  ring  for  himself. 
They  falsely  tell  Gunther  that  Siegfried 
has  been  unfaithful  with  respect  to  Brun- 
hilde;  and  the  King  finally  agrees  to  his 
destruction. 

ACT  III 

Banks  of  the  River  Rhine.  While  Sieg- 
fried is  out  upon  a  hunting  expedition,  the 
Rhine-maidens  beseech  him  to  restore  the 
ring  to  them,  telling  him  that  thus  only  can 
he  escape  death.  But  Siegfried  is  fearless 
and  will  not  yield  it  up  under  a  threat. 
Gunther,  Hagen,  and  other  hunters  join 
him,  and  while  they  rest  they  ask  Siegfried 
to  relate  his  adventures.  The  drug  has 
begun  to  wear  off  and  Siegfried  tells  of  his 
past.  When  he  comes  to  the  meeting  with 


GOTTERDAMMERUNG  231 

Brunhilde,  he  stops  puzzled  to  watch  the 
flight  of  some  ravens.  At  this  moment 
Hagen  drives  his  spear  in  between  Sieg- 
fried's shoulders,  and  the  latter  falls  dying. 
But  his  memory  is  clear  and  he  calls  for 
Brunhilde.  Both  Hagen  and  Gunther  try 
to  seize  the  ring,  and  in  the  struggle  the 
King  is  killed.  The  retainers  are  in  an  up- 
roar. Gutrune  bewails  the  loss  of  her  hus- 
band and  her  brother.  But  Brunhilde,  who 
has  learned  the  truth,  comes  in  and  bids  the 
tumult  cease.  She  orders  a  funeral  pyre  to 
be  built,  and  the  body  of  Siegfried  to  be 
placed  thereon.  Mounting  it  she  also  is 
consumed.  The  waters  of  the  Rhine  rise 
and  engulf  all,  including  Hagen  who  has 
tried  to  seize  the  ring,  and  the  cursed  em- 
blem is  at  last  restored  to  its  rightful  owners. 
In  the  sky  a  great  blaze  is  seen.  It  is  the 
destruction  of  Walhalla  with  all  the  gods. 


NORMA 


Dramatic  Opera  in  Two  Acts.  Music  by  Vincenzo 
Bellini.  Book  by  Romani.  First  produced  at 
Milan,  in  1832. 

SCENE  :    Gaul. 
TIME:    Circa  30  B.  C. 


CAST 

OROVIST,  chief  of  the  Druids  (Basso). 
NORMA,  his  daughter,  the  High  Priestess 

(Soprano). 

ADALGISA,  a  priestess  (Contralto). 
POLLIONE,  Roman  proconsul  (Tenor). 
FLAVIUS,  his  friend  (Tenor). 
CLOTILDA,  friend  of  Norma  (Soprano). 

Two  Children,  Priests,  Soldiers,  Druids. 


233 


ARGUMENT 

"  Norma  "  is  an  opera  of  tragic  intensity 
written  around  the  theme  of  a  woman's 
scorn.  A  Druidic  priestess,  forsaken  by 
her  Roman  lover,  brings  down  vengeance 
upon  his  head,  but  is  yet  willing  to  share 
his  fate. 

ACT  I 

Grove  of  the  Druids.  Norma,  the  High 
Priestess  of  the  Druids,  is  charged  with 
the  duties  of  the  Temple,  and  she  alone  can 
declare  war  or  peace.  By  cutting  the 
sacred  mistletoe  she  can  give  the  signal  for 
war,  and  this  she  is  urged  to  do  in  order 
that  the  Roman  invaders  may  be  expelled; 
but  she  stays  her  hand.  Despite  her  vows 
to  the  Temple,  she  has  secretly  wedded 
Pollione,  the  Roman  proconsul,  and  has  had 
two  children  by  him.  But  the  Roman  is 
faithless  and  is  even  now  planning  to 
abduct  Adalgisa,  another  virgin  of  the 
Temple.  The  latter,  however,  resists  his 
pleas  and  finally  confesses  her  temptation 
to  the  priestess.  Norma  is  disposed  to 
234 


NORMA  235 

pardon  her,  remembering  her  own  weak- 
ness, until  she  learns  that  the  proconsul  is 
the  man  involved;  then  she  turns  upon 
Pollione,  who  enters,  and  loads  him  with  re- 
proaches. 

ACT  II 

Scene  1.  Norma's  Apartments.  While 
the  two  children  of  Norma's  secret  union 
with  the  Roman  lie  asleep  upon  a  couch,  the 
Priestess  enters  resolved  to  kill  them.  But 
maternal  love  proves  stronger  than  anger, 
and  she  asks  Adalgisa,  who  now  enters,  to 
take  charge  of  the  children  and  conduct 
them  to  the  proconsul.  They  may  thus 
escape  to  Rome  while  she  herself  remains 
to  expiate  her  sin  upon  the  funeral  pyre. 

Scene  2.  The  Temple  Interior.  While 
Adalgisa  is  ministering  at  the  altar,  the. 
Roman  impiously  attempts  to  seize  her  by 
force.  Norma  enters  and  strikes  upon  the 
sacred  shield,  summoning  all  her  warriors. 
She  declares  that  the  time  has  come  to 
make  war  and  drive  out  the  invaders. 
They  seize  the  proconsul  and  bring  him 
before  her  for  judgment.  Norma  con- 
demns him  and  then  tears  off  the  wreath 
from  her  brow,  saying  that  she  also  has 


236  OPERA  SYNOPSES 

been  guilty.  The  proconsuf  recognizes  too 
late  the  worth  of  the  woman  he  lias 
scorned.  The  Druids  make  ready  the 
funeral  pyre  and  Norma  ascends  it  with 
her  lover,  both  perishing  in  the  flamos. 


ORPHEUS  AND  EURYDICE 


(Orfeo).  Legendary  Opera  in  Four  Acts.  Music 
by  Christopher  Gliick.  Book  by  Raniero  di 
Calzabigi.  First  produced  at  Vienna,  October 
5,  1762. 

SCENE:    Greece  and  the  Lower  World. 
TIME  :    Antiquity. 


CAST 

ORPHEUS,  o  sweet  singer  (Contralto). 
EURYDICE,  his  bride  (Soprano). 
AMOR,  god  of  love  (Soprano). 

Furies,  Shades,  Friends  of  Orpheus,  etc. 


237 


ARGUMENT 

"Orpheus  and  Eurydice"  is  based  upon 
the  ancient  Greek  legend  of  the  musician 
who  went  into  the  depths  of  Hades  to 
rescue  his  dead  wife. 

ACT  I 

The  Tomb  of  Eurydice.  Eurydice,  the 
bride  of  Orpheus,  who  charms  all  things 
by  his  music,  has  perished  from  the  bite  of 
a  serpent.  Orpheus  and  his  friends  gather 
around  her  tomb  to  lament  her  loss,  and  he 
prays  to  the  gods  to  restore  her  to  him.  He 
is  ready  to  make  any  sacrifice,  even  descend 
into  Hades  itself  in  order  to  rescue  her. 
Touched  by  his  grief,  the  god  Amor  is  sent 
to  tell  him  he  may  make  the  journey, 
trusting  only  to  his  powers  of  song;  but 
that  he  must  on  no  account  turn  to  look 
upon  the  face  of  his  wife,  else  Death  will 
again  seize  upon  her. 

ACT  II 

Hades,  the  Abode  of  the  Departed.    The 
shades  and  furies  swarm  around  the  en- 
238 


ORPHEUS  AND  EURYDICE  239 

trance  to  Hades  reviling  Orpheus  for  having 
attempted  to  enter;  but  he  sings  so  sweetly 
of  his  grief  and  present  quest  that  they 
stand  aside  and  allow  him  to  enter. 

ACT  III 

Valley  of  the  Blest.  In  the  midst  of 
Hades  is  the  Valley  of  the  Blest,  where 
dwell  the  pure  in  heart.  Here  Orpheus  on 
his  journey  finally  finds  his  wife.  The 
others  cannot  understand  why  she  wishes 
to  return,  but  touched  by  his  song  lead 
her  to  him.  He  does  not  turn  to  look  at 
her,  but  with  averted  face  takes  her  hand 
and  leads  her  from  the  valley. 

ACT  IV 

A  Forest  before  a  Cave.  After  a  long 
upward  journey,  Orpheus  leads  his  wife 
through  a  cave,  finally  emerging  into  a 
dense  forest.  Still  he  does  not  look  at  her, 
but  calling  back  urges  that  she  follow  him 
quickly.  She  complains  that  he  is  indif- 
ferent to  her;  that  he  has  not  given  her  so 
much  as  a  single  glance.  Without  his  love 
she  would  prefer  death.  She  continues  this 
plaint  until  he  can  resist  no  longer  and 


240  OPERA  SYNOPSES 

turns  to  reassure  her.  Immediately  she 
sinks  to  the  ground  lifeless.  Orpheus  bit- 
terly reproaches  himself,  and  while  lament- 
ing the  god  Amor  again  appears  to  him 
and  says  that  since  he  has  suffered  and 
toiled  greatly  he  will  be  forgiven.  With  a 
touch  he  restores  Eurydice  to  life  and  to 
her  husband's  arms. 


OTHELLO 


Tragic  Opera  in  Four  Acts.  Music  by  Giuseppe 
Verdi.  Book  by  Arrigo  Boito,  after  the  play  by 
Shakespeare.  First  produced  at  La  Scala  Theatre, 
Milan,  February  5,  1887. 

SCENE  :    Cyprus. 

TIME  :    The  1 5th  Century. 


CAST 

OTHELLO,  a  Moorish  general  in  the  service  of 

Venice  (Tenor). 

DESDEMONA,  his  wife  (Soprano). 
I  AGO,  lieutenant  to  Othello  (Baritone). 
EMILIA,  his  wife  (Contralto). 
CASSIUS,  lieutenant  to  Othello  (Tenor). 
RODERIGO,  a  Venetian  gentleman  (Tenor). 
LODOVICO,  a  Venetian  gentleman  (Basso). 
MONTANO,  former  governor  of  Cyprus  (Basso). 

Soldiers,  Sailors,  Citizens,  Servants. 


241 


ARGUMENT 

The  story  of  "Othello"  closely  follows 
Shakespeare's  play  of  the  same  name, 
except  that  it  omits  the  first  act  of  the  play 
dealing  with  Desdemona's  courtship  and 
marriage. 

ACT  I 

Open  Square  at  Cyprus.  Othello,  a 
noble  Moor  in  the  service  of  the  Venetian 
state,  has  won  the  heart  of  Desdemona,  a 
high-born  Venetian  lady,  and  has  brought 
her  with  him  on  his  expedition  to  Cyprus.. 
The  people  welcome  their  arrival.  Othello 
appoints  Cassius  as  his  first  lieutenant  in 
command,  which  act  enrages  lago  against 
them  both.  lago  is  the  servant  and  con- 
fidant of  the  general  and  had  hoped  to 
win  this  place  for  himself.  His  scheming 
mind  now  sets  on  foot  far-reaching  plans 
of  revenge.  He  succeeds  in  his  first  purpose 
of  getting  Cassius  drunk  and  embroiled  in 
a  quarrel  with  Montano,  the  retiring 
governor.  Othello  enters  at  this  moment — 
as  lago  hoped  he  would — and  punishes 
Cassius  by  depriving  him  of  the  command. 
242 


OTHELLO  243 


ACT  II 

A  Room  in  the  Palace.  lago  next  en- 
deavors to  poison  the  mind  of  Othello 
against  his  lovely  and  virtuous  wife.  At 
first  lago  carefully  drops  hints  and  innuen- 
does, some  of  which,  however,  stick.  He 
now  makes  use  of  Cassius  as  a  pawn  in  this 
game,  pretending  friendship  for  him,  and 
urging  him  to  ask  Desdemona  to  sue  for 
his  pardon  and  reinstatement.  Cassius 
does  so,  and  lago  makes  capital  of  this 
with  the  Moor.  Othello  finally  becomes  so 
suspicious  that  when  his  wife  comes  to  sue 
for  the  lieutenant,  he  can  see  in  this  only 
evidences  of  her  guilt.  He  rebuffs  her 
angrily.  Her  handkerchief  has  fallen,  and 
Emilia,  lago's  wife,  picks  it  up;  but  lago 
snatches  it  from  her  and  keeps  it  to  bolster 
up  his  flimsy  chain  of  evidence.  When 
alone  with  the  Moor,  he  boldly  charges 
Cassius  with  having  had  improper  rela- 
tions with  Desdemona,  and  states  that  she 
has  given  her  lover  a  handkerchief  which 
will  be  found  on  his  person.  Othello  vowa 
vengeance  against  the  pair. 


244  OPERA  SYNOPSES 

ACT  III 

A  Room  in  the  Palace.  Desdemona 
again  intercedes  for  Cassius,  but  her  very 
innocence  leads  to  her  undoing.  Othello 
sees  in  it  only  further  confirmation  of  his 
suspicions.  Cassius  is  now  led  in  by  lago. 
Othello  conceals  himself,  and  lago  gives 
the  harmless  conversation  such  a  turn  as  to 
make  it  appear  in  line  with  his  accusations. 
The  handkerchief  is,  of  course,  found  as 
lago  predicted,  and  arranged.  Othello 
bursts  into  a  torrent  of  rage,  after  Gassius 
leaves,  and  is  only  prevented  from  harming 
his  wife  by  the  arrival  of  an  embassy  from 
Venice.  It  brings  the  news  that  he  is  de- 
posed as  governor,  and  Cassius  has  been 
appointed  in  his  place.  When  they  depart, 
Othello  commands  lago  to  slay  Cassius, 
and  is  himself  wrought  up  to  such  a  fury 
that  he  falls  upon  the  floor.  lago  regards 
him  with  a  sneer. 

ACT  IV 

Desdemona's  Bedchamber.  Desdemona 
sits  weeping  with  Emilia.  All  her  actions 
have  been  misjudged  and  she  is  in  terror  of 
her  life.  She  dismisses  her  maid,  prays, 


OTHELLO  245 


and  retires.  Othello  enters  and  roughly 
bids  her  prepare  to  die.  She  pleads  but  he 
is  obdurate.  He  suffocates  her.  Emilia 
rushes  in,  but  too  late  to  save  her  mistress's 
life.  She  alarms  the  palace  and  then 
reveals  to  Othello  the  whole  extent  of 
lago's  infamy,  stating  that  he  had  ob- 
tained the  handkerchief  from  her.  Othello, 
too  late,  sees  the  truth,  and  overcome  with 
remorse  stabs  himself,  falling  by  the  bed 
of  the  slain  Desdemona. 


I   PAGLIACCI 


(The  Players).  Dramatic  Opera  in  Two  Acts. 
Music  by  Ruggiero  Leoncavallo.  Book  by  the 
Composer.  First  produced  at  Milan,  May  21, 
1892. 

SCENE:    Near  Montalto,  in  Calabria. 
TIME:    August  15,  1865. 


CAST 

CANTO  (Clown),  chief  of  a  troupe  of  strolling 

players  (Tenor). 

NEDDA  (Columbine),  his  wife  (Soprano). 
TONIO  (Taddeo),  a  player  (Baritone). 
BEPPO  (Harlequin),  a  player  (Tenor). 
SILVIO,  a  peasant  (Tenor). 

Villagers. 


247 


ARGUMENT 

The  theme  of  "I  Pagliacci"  is  simple, 
but  strongly  developed.  From  the  words 
of  the  prologue,  "  We  are  all  players,"  the 
keynote  is  taken.  It  is  but  another  version 
of  the  Shakesperian  proverb,  "All  the 
world's  a  stage." 

Before  the  curtain  rises  on  the  first  act 
Tonio,  in  his  player's  garb,  appears  before 
the  footlights  and  sings  the  prologue  show- 
ing that  actors  have  hearts  with  the  rest  of 
mankind  and  are  subject  to  the  same  joys 
and  sorrows. 

ACT  I 

A  Village  in  Calabria.  The  villagers  con- 
gregate about  the  cart  of  a  travelling  show- 
man which  has  just  arrived  drawn  by  a 
donkey.  Canio,  the  showman,  and  Nedda, 
his  wife,  get  out  and  tell  the  crowd  to  be 
sure  to  come  to  the  evening  performance 
as  they  will  see  an  exciting  play.  Canio 
then  goes  down  the  street  and  the  villagers 
go  to  noonday  worship  leaving  Nedda 
alone.  Tonio,  another  member  of  the 
243 


I  PAGLIACCI  249 


troupe,  seizes  this  opportunity  to  try  to 
make  love  to  her,  and  for  reward  gets  a  cut 
from  her  whip  across  his  face.  He  retires 
vowing  vengeance.  Silvio,  a  villager,  be- 
tween whom  and  herself  a  secret  love 
exists,  now  enters  and  pleads  with  her  to 
flee  with  him.  She  at  first  refuses  but 
finally  consents  to  see  him  that  night. 
Tonio  has  overheard,  and  steals  away  to 
summon  Canio.  The  latter  returns  and 
surprises  the  lovers,  but  does  not  succeed 
in  catching  Silvio.  He  then  returns  and  is 
about  to  lay  his  hands  upon  his  wife,  when 
the  other  members  of  the  company  inter- 
pose and  a  semblance  of  peace  is  patched 
up.  But  Canio's  heart  is  filled  with  rage. 

ACT  II 

The  Open  Square,  with  the  Showman's 
Stage  at  One  Side.  The  show  is  about  to 
begin  and  Tonio  beats  on  the  drum.  The 
people  bustle  in  filling  the  seats  which  have 
been  provided  in  the  square.  As  Nedda 
collects  the  tickets,  Silvio  reminds  her  of 
her  promise,  but  she  cautions  him  to  be 
silent.  The  play  begins  and  deals  with  a 
jealous  husband  who  returns  to  find  that 


250  OPERA  SYNOPSES 

his  wife  has  been  entertaining  another  man 
at  supper.  The  guest  jumps  out  of  the 
window,  but  the  injured  husband  (played 
by  Canio)  loads  his  wife  (Nedda)  with  re- 
proaches. In  his  fury  Canio  forgets  his 
lines  and  his  abuse  becomes  real  and 
violent.  The  audience  is  wrought  up  to  a 
fever  pitch  and  when  he  seizes  a  knife 
from  the  table  and  actually  stabs  her,  all  is 
in  an  uproar.  Silvio,  alarmed,  springs 
forward  to  her  aid,  and  Canio,  recognizing 
him,  drives  the  knife  into  his  breast  also. 
The  villagers  seize  him  and  he  stands 
quietly  gazing  at  his  two  expiring  victims, 
saying:  "  The  play  is  over!" 


PARSIFAL 


Music-Drama  in  Three  Acts.  Music  by  Richard 
Wagner.  Book  by  the  Composer  after  the  epic 
by  Wolfram  von  Eschenbach.  First  produced 
at  Baireuth,  July  22,  1882. 

SCENE:    Montsalvat,  in  the  Mountains  of 
Spain. 

TIME:    The  Middle  Ages. 


CAST 

AMFORTAS,  Keeper  of  the  Grail  (Baritone). 
TITUREL,  his  father  (Basso). 
GURNEMANZ,  Keeper  of  the  gale  (Basso). 
PARSIFAL,  the  guileless  one  (Tenor). 
KLINGSOR,  a  magician  (Baritone). 
KUNDRY,  his  accomplice  (Mezzo-Soprano). 

Knights  of  the  Grail,  Flower  Maidens, 
Servants,  Villagers. 


251 


ARGUMENT 

"Parsifal"  deals  with  the  legend  of  the 
Holy  Grail,  the  cup  which  Christ  blessed 
and  which  caught  the  blood  from  his 
wounded  side.  Both  the  cup  and  the  spear 
which  wounded  him  were  found  by  Titurel 
and  his  Knights  of  the  Grail,  who  founded  a 
temple  for  their  service  at  Montsalvat,  in 
the  mountains  of  Spain. 

In  his  old  age,  Titurel  appointed  his  son. 
Amfortas,  as  Keeper  of  the  Grail.  Kling- 
sor,  a  magician,  angered  at  not  being 
elected  a  Knight,  created  an  enchanted 
castle  and  garden  nearby.  He  compelled 
Kundry,  a  woman  who  had  laughed  at 
Christ  and  was  condemned  to  wander  until 
her  sin  was  expiated,  to  aid  him.  Kundry 
tempted  Amfortas,  who  turned  aside  and 
was  wounded  by  Klingsor  with  the  sacred 
spear. 

ACT  I 

The  Forest  of  Montsalvat.    Gurnemanz, 
the  keeper  of  the  gate  tells  of  the  grievous 
condition  of  Amfortas.     The  wound  made 
252 


PARSIFAL  253 


by  Klingsor  refuses  to  heal  and  is  doubly 
painful  when  Amfortas  tries  to  celebrate 
holy  communion.  For  this  reason  the 
Temple  service  is  being  neglected.  Am- 
fortas is  borne  in  on  a  litter  in  search  of 
healing  springs,  and  Kundry,  who  has  re- 
pented her  share  in  his  woe,  comes  in  bear- 
ing a  balsam  which  she  has  procured  with 
great  difficulty.  But  it  is  written  that  he 
can  only  find  relief  from  the  touch  of  the 
sacred  spear  in  the  hands  of  the  Guileless 
One,  and  him  they  await. 

After  Amfortas  is  gone,  a  wounded  swan 
falls  to  the  ground,  and  while  the  keepers 
are  angry  over  this  desecration  of  their 
sacred  grounds,  a  lad  comes  in  trium- 
phantly to  claim  his  quarry.  But  when  he 
is  told  that  he  is  no  better  than  a  murderer, 
he  grows  penitent  of  his  deed.  Gurnemanz 
relents  and  takes  him  to  a  service  in  the 
Temple,  but  the  utter  ignorance  of  the  lad 
(whose  name  is  Parsifal)  so  annoys  Gurne- 
manz that  he  bids  the  boy  begone. 

ACT  II 

The  Castle  and  Gardens  of  Klingsor. 
Several  years  pass  by.  The  magician  is 


254  OPERA  SYNOPSES 

greatly  alarmed  over  tidings  that  a  fearless 
young  knight  is  coming  who  has  put  his 
enemies  to  flight  on  every  side.  It  is  Par- 
sifal grown  to  manhood.  Klingsor  sum- 
mons Kundry  to  his  aid,  who  obeys  him 
most  unwillingly.  The  castle  sinks  from 
view  and  in  place  of  it  are  seen  enchanting 
gardens  in  which  the  Flower  Maidens 
dwell.  As  Parsifal  comes  by  the  garden, 
they  sing  to  him  seductively;  but  he  turns 
a  deaf  ear  to  them.  Then  Kundry  appears, 
a  dazzling  vision  of  loveliness,  and  bids 
him  stay  until  she  tells  him  of  his  parents, 
whom  he  does  not  remember.  He  tarries 
and  she  relates  that  he  is  the  son  of  King 
Gamuret,  slain  in  battle,  and  that  his 
mother  brought  him  up  as  an  ignorant 
peasant  in  order  to  keep  him  from  becom- 
ing a  warrior.  His  mother — says  Kundry 
— entrusted  her  with  a  last  message  and 
kiss.  With  this  the  enchantress  leans  over 
and  presses  a  burning  kiss  on  the  young 
knight's  lips;  it  was  in  this  way  that  she 
had  formerly  betrayed  Amfortas.  Realiz- 
ing his  danger,  Parsifal  springs  to  his  feet. 
Kundry  summons  the  magician  to  her  aid. 
Klingsor  hurls  the  sacred  spear  at  the 
knight,  but  he  seizes  it  in  mid-air  and 


PARSIFAL  255 


strikes  Klingsor  dead.  The  gardens  vanish 
and  only  Kundry  is  left,  an  old  woman, 
crouching  upon  the  ground  in  terror. 

ACT  III 

Scene  1.  Montsalvat.  Gurnemanz 
though  grown  old  is  still  the  keeper  of  the 
gate,  and  Amfortas  is  stfll  a  sufferer  from 
his  grievous  malady  which  will  not  heal  nor 
let  him  die.  The  penitent  Kundry  lingers 
about  the  Temple  as  a  hewer  of  wood  and 
drawer  of  water.  A  strange  knight  appears 
faint  and  weary  from  his  journeys.  It  is 
Parsifal  who  has  completed  his  self-imposed 
mission.  He  kneels  in  prayer,  the  sacred 
spear  thrust  before  him  in  the  soil.  Gur- 
nemanz recognizes  in  him  the  Guileless  One 
whom  he  thrust  rudely  out  of  doors  as  a 
boy,  and  now  ministers  to  him;  while 
Kundry  kneels  and  washes  his  feet.  He 
baptizes  her.  The  Temple  bells  sound  for 
the  noon-day  service,  and  they  array 
Parsifal  in  the  white  robes  of  a  Knight  of 
the  Grail. 

Scene  2.  The  Temple  Interior.  The 
aged  Titurel,  father  of  Amfortas,  wishes  to 
see  the  Holy  Grail  unveiled  once  more 


256  OPERA  SYNOPSES 

before  he  dies,  but  the  pain-racked  King 
shrinks  from  the  task.  He  begs  his  knights 
to  slay  him  and  thus  remove  the  curse.  At 
this  moment  Parsifal  enters  bearing  the 
spear.  He  touches  the  wound  of  Amfortas 
and  it  heals  immediately.  Parsifal  then 
announces  that  he  has  been  sent  to  take 
charge  of  the  Grail  and  he  proceeds  with 
the  services.  As  the  Grail  is  uncovered 
and  held  aloft,  the  aged  Titurel  expires  with 
a  smile  upon  his  lips.  The  Temple  is 
flooded  with  light  and  a  dove  descends  and 
alights  upon  Parsifal.  Kundry  who  has 
crept  in  unnoticed  falls  at  his  feet  and 
breathes  her  last — redeemed. 


PELLEAS  AND  MELISANDE 


Lyric  Drama  in  Five  Acts.  Music  by  Claude  De 
Bussy.  Book  by  Maurice  Maeterlinck.  First  pro- 
duced at  the  Opera  Comique,  Paris,  April  30, 
1902. 

SCENE  :    Allemande. 
TIME:    Antiquity. 


CAST 

ARKEL,  King  of  Allemonde  (Basso). 
GENEVIEVE,  his  daughter-in-law  (Soprano). 
GOLAUD,  her  elder  son  (Baritone). 
PELLEAS,  her  younger  son  (Tenor). 
MELISANDE,  wife  of  Golaud  (Soprano). 
YNIOLD,  son  of  Golaud  (Soprano). 
A  PHYSICIAN  (Baritone). 

Servants,  Blind  Beggars,  etc. 


257 


ARGUMENT 

"Pelleas  and  Melisande"  is  a  mystic 
drama  of  passion  and  fate,  both  text  and 
music  being  freighted  with  inner  meaning. 

ACT  I 

Scene  1.  A  Fountain  in  the  Forest. 
Golaud,  a  grandson  of  aged  King  Arkel, 
while  out  hunting  discovers  a  maiden  wan- 
dering lost  and  weeping  in  the  forest.  She 
will  not  tell  anything  about  herself  or 
whence  she  came,  but  Golaud,  whose  wife 
is  dead,  persuades  her  to  go  with  him  to  the 
King's  court. 

Scene  2.  Genevieve,  daughter  of  King 
Arkel,  informs  him  that  her  son  Golaud 
has  taken  the  strange  maiden  to  wife.  He 
has  written  his  brother,  Pelleas,  to  this  effect 
and  asks  permission  to  bring  her  to  court. 
If  it  pleases  the  King  a  light  is  to  be  shown 
from  the  tower  window;  otherwise  he  will 
go  away.  Pelleas  is  ordered  to  display  the 
light. 

258 


PELLEAS  AND  MELISANDE         259 

Scene  3.  The  Castle  Gardens.  Gen- 
evieve  shows  Melisande  (for  that  is  the 
name  given  by  the  strange  maiden)  the 
gardens  of  the  castle,  but  the  girl  merely 
shudders  and  says  that  it  is  all  old  and 
dark.  To  divert  her  mind, -Pelleas  points 
out  the  beacon  lights  along  the  shore.  She 
sees  a  ship  sailing  away  and  exclaims  that 
it  is  her  ship.  Pelleas  depressed  says  that 
he  also  is  going  away. 

ACT  II 

Scene  1.  A  Pool  in  the  Park.  Pelleas 
cannot  tear  himself  away  from  this  strange 
girl.  He  walks  with  her  one  day  in  the 
park  and  she  seats  herself  by  the  edge  of  a 
deep  pool.  She  takes  off  her  wedding  ring 
which  she  plays  with  carelessly.  It  falls 
into  the  depths  of  the  water,  and  Pelleas 
says  that  it  cannot  be  recovered.  The 
clock  sounds  the  hour  of  twelve. 

Scene  2.  Goland's  Chamber.  By  a 
curious  coincidence,  Golaud  has  met  with 
an  accident  at  the  precise  moment  when 
the  wedding  ring  fell  into  the  pool.  His 
horse  stumbled  and  fell  upon  him.  Meli- 
sande nurses  him  back  to  health.  He 


260  OPERA  SYNOPSES 

notices  that  the  ring  is  missing  from  her 
finger,  and  asks  her  where  it  is.  She 
answers  that  she  lost  it  in  a  cavern  by  the 
sea  while  gathering  shells  for  little  Yniold 
(his  son).  He  commands  her  to  go  at  once, 
even  though  it  is  nightfall,  and  search  for 
it.  Pelleas  can  go  with  her. 

Scene  3.  The  Cavern.  Pelleas  and 
Melisande  visit  the  cavern  so  that  the  girl 
will  be  able  to  describe  it  to  Golaud.  They 
meet  three  blind  men  wandering  there,  and 
Melisande  is  frightened.  It  portends  ill 
fortune. 

ACT  III 

Scene  1.  Outside  of  Melisande's  Bal- 
cony. Melisande  combs  her  long  tresses 
while  leaning  out  of  the  window  and  the 
hair  falls  in  a  shimmering  mass  nearly  to 
the  ground.  Pelleas  stands  without  and 
fondles  it,  saying  that  it  is  the  most  beau- 
tiful hair  in  the  world.  He  again  says  that 
he  must  go  away.  Golaud  enters  her 
room  and  finds  the  two  in  conversation. 
He  goes  to  the  window  and  tells  them  that 
they  are  a  pair  of  children. 

Scene  2.  The  Castle  Vaults.  By  way  of 
covert  warning,  Golaud  takes  his  brother 


PELLEAS  AND  MELISANDE        261 

Pelleas  to  the  vaults  of  the  castle,  showing 
him  the  deep  silent  pits  from  which  no 
victim  could  escape. 

Scene  3.  The  Gardens.  They  return 
to  the  gardens  and  Golaud  bluntly  cautions 
Pelleas  to  be  less  attentive  to  Melisande. 

Scene  4.  Outside  the  Window  of  Melis- 
ande's  Chamber.  It  is  evening,  and  the 
still  watchful  Golaud  questions  his  little 
son,  Yniold,  as  to  the  relations  of  Pelleas 
and  Melisande.  The  child  replies  that  they 
are  often  together,  though  they  have 
kissed  only  once.  Golaud  lifts  the  boy  up 
on  his  shoulders  so  that  he  can  peer  in  at 
the  lighted  window.  Yniold  says  that 
Pelleas  is  there  but  is  not  near  Melisande. 
They  only  look  at  each  other  with  tears  in 
their  eyes.  Golaud  grasps  his  son  so  tensely 
that  the  child  exclaims  in  pain. 

ACT  IV 

Scene  1.  A  Corridor.  Melisande  agrees 
to  meet  Pelleas  for  a  farewell  interview  by 
the  fountain.  She  is  encountered  by  the 
aged  King,  who  speaks  kindly  to  her.  But 
after  he  is  gone,  her  husband  enters, 
greeting  her  rudely  and  violently. 


262  OPERA  SYNOPSES 

Scene  2.  The  Fountain.  Pelleas  and 
Melisande  meet  by  the  fountain  and  Pelleas 
pours  forth  a  torrent  of  love.  Melisande 
listens  half  hysterical.  Something  moves 
in  the  shadows  behind  them.  She  is  sure 
that  it  is  her  husband,  but  she  clings  to  her 
lover  in  despair.  Golaud  rushes  forward 
and  transfixes  Pelleas  with  his  sword,  and 
then  turns  to  pursue  the  fleeing  Melisande. 

ACT  V 

Melisande's  Bedchamber.  Melisande 
has  given  birth  to  a  child,  but  her  life 
hangs  upon  a  thread.  Golaud  attends  upon 
her,  remorseful  for  what  he  has  done.  She 
does  not  seem  to  remember.  He  questions 
her  about  Pelleas,  but  she  returns  evasive 
replies.  She  has  loved  him,  but  she  is 
innocent  of  wrong-doing.  Arkel  and  the 
physician  bid  him  cease  troubling  her. 
She  is  shown  her  child,  but  is  too  weak  to 
hold  it.  The  servants  enter  silently. 
Golaud  bids  them  begone,  but  they  only 
fall  upon  their  knees  in  prayer.  The 
physician  looks  at  his  patient  and  says 
that  they  are  right.  Melisande  is  dead. 


RIGOLETTO 


Tragic  Opera  in  Four  Acts.  Music  by  Giuseppe 
Verdi.  Book  by  Piave,  after  Hugo's  "Le  Roi 
S'amuse."  First  produced  at  the  Fenice  Theatre, 
Venice,  March  11,  1851. 

SCENE:    Mantua. 

TIME:    The  16th  Century. 


CAST 

THE  DUKE  OP  MANTUA  (Tenor). 
RIGOLETTO,  his  jester  and  attendant  (Baritone). 
GILDA,  daughter  of  Rigolello  (Soprano). 
COUNT  MONTERONE  (Basso). 
COUNT  CEPRANO  (Baritone). 
COUNTESS  CEPRANO  (Soprano). 
SPARAFUCILE,  an  assassin  (Basso). 
MADDALENA,  his  sister  (Mezzo-Soprano). 
GIOVANNA,  friend  of  Maddalena  (Contralto). 
BORSA,  a  Courtier  (Tenor). 

Officers,  Courtiers,  Ladies,  Attendants. 
Servants. 


263 


ARGUMENT 

"  Rigoletto  "  is  an  intense  tragedy  of  un- 
bridled desires  and  retributive  vengeance. 
Based  upon  Hugo's  powerful  drama  of 
medieval  court  life,  "  The  King  Amuses 
Himself,"  it  is  unrelieved  by  pleasant 
themes,  but  has  been  lastingly  successful 
because  of  the  closely  knit  plot  and  the 
brilliant  music  with  which  Verdi  has  in- 
vested it. 

ACT  I 

An  Open  Court  in  the  Duke's  Palace. 
The  Duke  of  Mantua,  one  of  the  most  pro- 
fligate of  rulers,  devotes  his  leisure  moments 
to  the  pursuit  of  ladies,  and  no  house  high 
or  low  is  safe  from  his  attentions.  The 
courtiers  are  embittered,  and  especially  so 
against  Rigoletto,  his  jester  and  familiar, 
who  aids  him  in  these  adventures.  Rigo- 
letto, though  deformed,  has  a  keen  mind. 
His  own  daughter,  a  beautiful  young  girl, 
has  been  kept  carefully  hidden  away  (so  he 
thinks).  He  can  therefore  laugh  loudly 
with  the  Duke  when  the  latter  tells  of 
264 


RIOOLETTO  266 


having  fallen  in  love  with  a  fair  face  he  has 
seen  at  church,  and  promises  his  master 
another  rare  adventure.  At  the  same  time 
the  Duke  is  planning  an  intrigue  with  the 
Countess  Ceprano,  which  causes  the  Count 
to  form  a  cabal  against  Rigoletto.  The 
Count  Monterone  also  swears  vengeance 
against  both  Duke  and  jester  because  of 
the  wronging  of  his  daughter.  When  he 
comes  with  his  complaint  the  jester  makes 
merry.  Monterone  enraged  turns  and 
hurls  a  father's  curse  against  both.  The 
Duke  treats  the  matter  lightly,  but  the 
jester  cannot  get  the  curse  out  of  his  mind. 

ACT  II 

A  Secluded  Street  in  Front  of  Rigoletto's 
House.  Still  thinking  of  the  curse,  the 
jester  has  an  interview  with  Sparafucile,  a 
hired  assassin,  who  promises  to  aid  him 
whenever  necessary.  Rigoletto  then  enters 
his  garden  by  a  side  gate  and  is  met  by 
Gilda,  his  daughter,  whom  he  loves  and 
guards  jealously.  She  answers  his  ques- 
tions as  to  her  coming  and  going,  but  con- 
ceals from  him  the  fact  that  she  has  seen  a 
young  man  at  church  who  has  shown  her 


266  OPERA  SYNOPSES 

marked  attention.  It  was  the  Duke,  posing 
as  a  student.  He  has  found  out  where  she 
lives,  and  his  men  are  planning  to  abduct 
her  this  very  night.  They  believe  her  to  be 
Rigoletto's  mistress,  and  encountering  him 
in  the  street  plan  a  trick  at  his  expense.  He 
is  informed  that  they  are  after  the  Countess 
Ceprano  and  he  is  to  accompany  them 
blindfolded.  He  agrees  and  while  blinded 
they  place  a  scaling-ladder  against  his  own 
house  and  carry  off  Gilda.  He  discovers 
the  ruse  too  late  to  rescue  her,  and  again 
remembers  the  curse. 

ACT  III 

Apartment  in  the  Palace.  Rigoletto 
follows  his  daughter  to  the  palace  but  when 
arrived  there  he  finds  that  she  is  with  the 
Duke.  In  an  agony  of  apprehension  he 
sings  and  jests  and  meanwhile  tries  to  find 
some  way  of  reaching  them.  But  the 
courtiers,  believing  Gilda  to  have  been  only 
his  mistress  and  glad  of  this  chance  to 
avenge  themselves  upon  him,  prevent  him 
from  leaving  the  room.  Finally  in  an  agony 
he  confesses  that  she  is  his  daughter,  and 
begs  to  be  allowed  to  seek  her,  but  all  to  no 


RIGOLETTO  267 


avail.  At  the  height  of  their  merriment 
and  his  despair,  Gilda  rushes  in.  The 
others  retire  leaving  father  and  daughter 
alone.  His  worst  fears  have  been  realized. 
She  has  been  dishonored.  Monterone 
passes  by,  and  Rigoletto  tells  him  his  curse 
has  been  effective.  "  Not  so,"  says  Mont- 
erone: "the  Duke  is  still  happy!"  "I 
join  you  in  vengeance  against  him!'!  ex- 
claims Rigoletto. 

ACT  IV 

A  Retired  Street.  Rigoletto  shudders  to 
learn  that  Gilda  still  loves  the  Duke  and 
would  shield  him  from  vengeance.  He 
therefore  hastens  to  the  home  of  the  mur- 
derer, Sparafucile,  and  bargains  with  him 
that  he  shall  slay  the  first  person  who 
enters  the  house,  regardless  of  who  it  may 
be.  The  bandit  agrees.  The  jester  then, 
lures  the  Duke  to  the  house  by  means  of  the 
bandit's  sister,  Maddalena.  Even  when 
Gilda  overhears  and  sees  this  new  proof  of 
the  Duke's  perfidy  she  cannot  steel  her 
heart  against  him,  but  resolves  instead  to 
sacrifice  herself  to  save  him.  A  thunder- 
storm prevents  the  Duke  from  leaving  the 
house  at  once,  and  Maddalena  pleads  with 


268  OPERA  SYNOPSES 

her  brother  to  spare  their  guest,  who  has 
retired  to  an  upper  chamber.  The  assassin 
is  unwilling;  a  bargain  is  a  bargain.  At 
last  he  agrees  to  spare  him  provided 
another  victim  is  found  by  midnight. 
Gilda,  on  the  outside,  overhears  and  pre- 
sents herself  in  boy's  clothes.  True  to  his 
word,  Sparafucile  stabs  her.  Rigoletto 
comes  to  claim  the  body  which  has  been 
placed  in  a  sack.  While  gloating  over  his 
vengeance  he  hears  the  voice  of  the  Duke 
singing.  Astounded  he  tears  open  the  sack 
and  finds  the  body  of  his  daughter. 


ROMEO  AND  JULIET 

Tragic  Opera  in  Five  Acts.  Music  by  Charles 
Francois  Gounod.  Book  by  Barbier  and  Carr£, 
after  the  play  by  Shakespeare.  First  produced 
at  the  Theatre  Lyrique,  Paris,  April  27,  1867. 

SCENE:    Verona. 

TIME:    The  14th  Century. 


CAST 

THE  PRINCE  OP  VERONA  (Basso). 
COUNT  OF  PARIS,  his  kinsman  (Baritone). 
CAPULET,  a  nobleman  (Basso). 
JULIET,  his  daughter  (Soprano). 
GERTRUDE,  her  nurse  (Contralto). 
TYBALT,  nephew  to  Capulet  (Tenor). 
ROMEO,  a  Montague  (Tenor). 
MERCUTIO,  his  friend  (Baritone). 
STEFANO,  page  to  Romeo  (Soprano). 
BENVOLIO,  friend  of  Romeo  (Tenor). 
GREGORIO,  servant  to  Capulet  (Baritone). 
FRIAR  LAURENCE  (Basso). 

Friends  of  Capulet  and  Montague,  Retainers 
of  the  Prince,  etc. 


269 


ARGUMENT 

Gounod's  opera  follows  closely  the 
accepted  version  of  the  story  of  "Romeo 
and  Juliet/'  following  the  plot,  by  acts,  of 
Shakespeare's  drama.  Still  earlier  versions 
were  the  French  tale  of  Boisteau  and  the 
Italian  novel  of  Bandelio. 

Between  the  Veronese  houses  of  Capulet 
and  Montague  exists  a  bitter  enmity. 
Open  warfare  between  the  factions  has 
proceeded  until  the  Prince  threatens  the 
banishment  of  the  next  person  to  engage  in 
the  quarrel 

ACT  I 

Reception  Hall  in  the  Mansion  of  Capu- 
let. The  head  of  the  house  of  Capulet  gives 
a  fete  in  honor  of  his  daughter,  Juliet. 
Romeo,  a  Montague,  comes  unbidden  to 
the  house  and  immediately  falls  desperately 
in  love  with  the  fair  young  heiress.  She 
likewise  has  eyes  for  none  but  him.  Ty- 
balt, a  kinsman  of  Capulet,  discovers  the 
intruder's  identity  and  wishes  to  draw  upon 
270 


ROMEO  AND  JULIET  271 

him,  but  Is  prevented  by  the  host  who  will 
not  override  the  laws  of  hospitality. 

ACT  II 

Capulet's  Garden.  Romeo  lingers  be- 
neath the  balcony  of  Juliet  and  is  overjoyed 
to  hear  her  come  forth  and  confess  her  love 
for  the  young  stranger,  to  the  moon  and 
stars.  He  makes  his  presence  known  and 
the  two  plight  their  troth.  Servants  of 
Capulet  interrupt  them,  but  only  tem- 
porarily. They  plan  a  speedy  marriage. 

ACT  III 

Scene  I.  Friar  Laurence's  Cell.  The  two 
lovers  meet  as  per  agreement  at  the  cell  of 
Friar  Laurence  and  he  consents  to  unite 
them,  thinking  that  this  will  bring  about 
peace  between  the  warring  families. 

Scene  2.  A  City  Street.  While  walking 
abroad  with  his  friends,  Romeo  is  accosted 
by  Tybalt  who  rails  at  him  for  having  gone 
to  the  Capulet  home.  Romeo  is  doubly 
anxious  to  keep  the  peace  at  this  time  and 
answers  him  softly.  But  soft  words  will 
not  satisfy  either  party.  Mercutio,  a 


272  OPERA  SYNOPSES 

Montague,  draws  upon  Tybalt  and  is  slain 
by  the  latter.  Romeo,  in  just  vengeance, 
then  crosses  swords  and  slays  Tybalt.  The 
Prince  orders  his  immediate  banishment 
from  the  city. 

ACT  IV 

Juliet's  Bedchamber.  Romeo  comes  to 
bid  his  bride  farewell;  he  cannot  tarry  on 
pain  of  death.  When  he  is  gone  Gapulet 
comes  to  inform  his  daughter  that  a  wed- 
ding has  been  arranged  between  her  and 
the  Count  of  Paris.  She  pleads  for  delay 
but  unavailingly,  and  she  dares  not  tell  her 
father  of  her  existing  marriage.  In  despair 
she  consults  the  friar,  who  gives  her  a  sleep- 
ing potion  which  causes  the  semblance  of 
death.  She  is  to  be  entombed,  and  Romeo 
is  to  be  informed  of  the  plan  and  rescue  her. 

ACT  V 

The  Tomb  of  the  Gapulets.  Before 
Romeo  can  receive  word  from  the  friar  as 
to  Juliet's  feigned  death,  he  hears  that  she 
is  really  no  more.  He  hastens  back  to 
Verona  and  the  tomb  where  she  lies.  At 
the  gate  he  encounters  Paris  and  strikes 


ROMEO  AND  JULIET  273 

him  to  the  ground.  Within  he  finds  his 
bride  apparently  lifeless.  He  drinks  a  vial 
of  poison  and  casts  himself  upon  her  bier. 
At  this  moment  she  awakens  from  her 
trance  and  learns  what  he  has  done.  He 
perishes  in  her  arms,  and  she  seizes  his 
dagger  and  stabs  herself. 


THE   SACRIFICE 


Dramatic  Opera  in  Three  Aete.  Music  by  Frederic 
S.  Converse.  Book  by  the  Composer.  First 
produced  at  the  Boston  Opera  House,  March  3, 
1911. 

SCENE:    Southern  California. 
TIMB:    1846. 


CAST 

CHONITA,  a  Mexican  senorita  (Soprano). 
SENORA  ANAYA,  her  aunt  (Mezzo-Soprano). 
CAPTAIN  BURTON,  an  American  officer 

(Baritone). 

BERNAL,  a  Mexican  officer  (Tenor). 
TOM  AS  A,  servant  to  Chonita  (Contralto). 
PABLO,  her  son  (Baritone). 
PADRE  GABRIEL,  a  priest  (Basso). 
TOM  FLYNN,  an  American  corporal  (Basso). 
LITTLE  JACK,  a  soldier  (Baritone). 
MARIANNA,  an  Indian  girl  (Soprano)- 
MAGDALENA,  an  Indian  girl  (Soprano). 

American  and  Mexican  soldiers,  and 
Spanish,  Indians,  and  Gypsies. 


275 


ARGUMENT 

"The  Sacrifice"  is  a  colorful  opera  deal- 
ing with  the  transitional  period  in  Southern 
California  when  t*he  old  Spanish  civiliza- 
tion, fostered  by  the  Mexicans,  gave  way 
before  the  aggressive  American  arms. 

ACT  I 

Garden  of  Senora  Anaya's  house.  Chon- 
ita,  a  beautiful  Mexican  senorita,  has  left 
her  own  home  to  visit  her  aunt  in  Southern 
California — chiefly  in  order  to  be  near  her 
lover,  Bernal,  a  Mexican  officer.  Mean- 
while the  old  order  of  things  is  passing  in 
this  section  and  American  soldiers  are  in 
control.  Bernal  is  forced  to  visit  his  sweet- 
heart clandestinely.  Chonita  is  also  be- 
loved by  Captain  Burton,  an  American 
officer,  who  calls  upon  her  and  urges  his 
suit,  while  the  Mexican  hides  in  a  grove 
nearby.  Chonita  dallies  with  him  in  order 
to  be  assured  of  his  protection  during  the 
troublous  times;  but  this  explanation 
made  later  to  Bernal  only  renders  him 
the  more  jealous  and  furious. 
276 


THE  SACRIFICE  277 

ACT  II 

Interior  of  a  Church.  The  American 
soldiers  have  converted  a  Mission  church 
into  a  barracks,  demolishing  shrines  and 
altars.  The  curtain  rises  upon  a  typical 
camping  scene  in  which  the  soldiers  tell  of 
their  last  fight.  Dancing  and  singing  girls 
enter  and  the  soldiers  follow  them  to  the 
garden.  Chonita  and  her  servant  Tomasa 
now  enter  to  learn  particulars  of  the  recent 
fight.  Burton  tells  Chonita  that  Bernal 
has  been  killed,  and  learns  that  the  Mex- 
ican was  her  lover.  But  Bernal  was  only 
wounded  and  presently  creeps  into  the 
church.  Chonita  hides  him  in  a  confes- 
sional. The  soldiers  suspect  the  presence 
of  a  spy,  but  Bernal  betrays  himself  by 
springing  upon  the  Captain  when  the 
latter  returns  to  renew  his  court  with 
Chonita.  The  girl  interposes  between  the 
rivals  and  is  accidentally  wounded  by 
Burton.  The  Mexican  is  captured  by  the 
soldiers. 

ACT  III 

The  Bedchamber  of  Chonita.  The  Mex- 
ican girl  is  conveyed  to  her  room  where  she 
lies  in  a  delirious  condition.  She  believes 


278  OPERA  SYNOPSES 

that  Bernal  is  being  shot  as  a  spy.  A  priest 
has  been  sent  for  and  presently  appears, 
followed  secretly  by  a  band  of  Mexicans. 
The  priest  sends  a  request  to  the  American 
officer  to  allow  Bernal  to  visit  the  sick  girl. 
Burton  brings  the  prisoner  in  person,  and 
the  two  Mexican  lovers  forget  all  the 
others  in  their  joy  of  meeting  again. 
Burton  realizes  that  he  stands  between  the 
two  and  happiness,  and  is  unselfish  enough 
to  wish  for  the  girl's  welfare  at  any  cost. 
The  way  is  suddenly  cleared  when  the  band 
of  Mexicans  hidden  without  charge  upon 
the  house.  Burton  makes  no  resistance 
but  offers  himself  to  the  nearest  Mexican 
weapon  and  is  slain.  Chonita  understands 
the  greatness  of  the  sacrifice  and,  supported 
by  her  lover,  totters  over  to  kneel  beside 
the  body  and  offer  a  prayer  for  the  noble 
American's  soul. 


SALOME 


Tragic  Opera  in  One  Act.  Music  by  Richard 
Strauss.  Book  adapted  from  the  romance  by 
Oscar  Wilde.  First  produced  at  Dresden,  De- 
cember 9,  1905. 

SCENE:    Tiberias,  the  Capital  of  Herod,  in 
Galilee. 

TIME:    30  A.  D. 


CAST 

HEROD,  Tetrarch  of  Galilee  (Tenor). 
HERODIAS,  his  wife  (Mezzo-Soprano). 
SALOME,  her  daughter,  and  the  King's  step- 
daughter (Soprano). 

JOHN  THE  BAPTIST,  a  prophet  (Baritone). 
NARRABOTH,  a  Syrian  captain  (Tenor). 
A  PAGE  (Contralto). 

Jews,  Courtiers,  Soldiers,  Priests,  Servants 


279 


ARGUMENT 

"Salome"  is  a  story  of  frank  sensuality 
based  upon  Wilde's  romance,  itself  a  var- 
iant of  the  scriptural  account  of  the  death 
of  John  the  Baptist. 

The  Palace  of  Herod.  Salome,  the  beau- 
tiful but  unprincipled  step-daughter  of 
King  Herod,  falls  passionately  in  love  with 
John  the  Baptist,  the  prophet  of  the  wilder- 
ness. Because  of  his  bold  speech  against 
Herod  and  Herodias  John  has  been  cast 
into  a  deep  dungeon.  There  the  King  holds 
him,  not  caring  to  take  further  action  for 
fear  of  displeasing  the  Jews.  Salome  is 
filled  with  an  unholy  desire  to  kiss  the 
prophet's  lips  and  fondle  his  long  uncut 
tresses.  She  persuades  Narraboth,  a  cap- 
tain who  is  in  love  with  her,  to  bring  the 
prisoner  before  her.  When  the  captain 
finds  that  she  loves  only  John,  he  kills  him- 
self; but  Salome  gives  little  heed  to  this 
in  the  joy  of  having  the  prophet  in  her 
clutches.  John,  however,  rejects  all  her 
advances,  bidding  her  repent.  Filled  with 
rage  she  has  him  cast  again  into  the  dun- 
geon and  bides  her  time. 
280 


SALOME  281 

The  opportunity  is  soon  offered  when 
Herod  holds  a  feast,  at  which  Salome  ap- 
pears scantily  clad  and  dances  before  the 
guests.  The  King  is  so  pleased  that  he  bids 
her  name  her  own  reward.  She  replies  that 
she  desires  only  the  head  of  John  the  Bap- 
tist. The  King  objects;  he  is  fearful  of  an 
uprising;  he  offers  her  instead  his  treasures 
or  half  his  kingdom;  but  she  is  obdurate. 
In  desperation  the  King  gives  the  fatal 
signal.  A  dull  blow  is  heard  and  a  moment 
later  the  executioner  appears  with  the  gory 
head.  Salome  is  wild  with  delight.  She 
fondles  the  trophy  as  though  it  were  alive, 
kissing  the  lips.  In  disgust  and  horror  the 
King  orders  her  to  be  put  to  death,  and  the 
soldiers  crush  her  beneath  their  shields. 


SAMSON  AND   DELILAH 

Dramatic  Opera  in  Three  Acts.  Music  by  Camille 
Saint-Saens.  Book  by  Ferdinand  Lemaire.  First 
produced  at  Weimar,  December  2,  1877. 

SCENE:    Gaza  and  Vicinity,  in  Palestine. 
TIME:    1150  B.  C. 


CAST 

SAMSON,  a  prophet  of  Israel  (Tenor). 
DELILAH,  a  Philistine  woman  (Mezzo- 
Soprano). 

ABIMELECH,  a  Philistine  officer  (Basso). 
HIGH  PRIEST  OF  DAGON  (Baritone). 
A  PHILISTINE  MESSENGER  (Tenor). 

Hebrews,  Philistines,  Priests,  Maidens,  etc. 


283 


ARGUMENT 

The  Biblical  story  of  Samson  and 
Delilah  is  faithfully  reproduced  in  this 
opera,  which  depicts  in  both  text  and  music 
the  dramatic  scenes  in  the  life  of  Israel's 
warrior-prophet  whose  power  was  wrested 
from  him  by  a  woman. 

ACT  I 

An  Open  Square  in  Gaza.  The  people  of 
Israel  have  been  overcome  by  their  enemies 
the  Philistines,  and  now  pray  for  deliver- 
ance. Samson,  their  leader  and  a  man  of 
mighty  deeds,  advises  them  to  be  patient. 
During  their  devotions  Abimelech,  the 
satrap  of  Gaza,  comes  out  of  the  temple  and 
ridicules  them  and  their  God.  Samson 
turns  upon  him,  wrests  the  sword  from  his 
hand,  and  kills  him  with  one  blow.  Other 
Philistine  soldiers  rush  to  their  leader's  aid, 
but  Samson  easily  withstands  them  all. 
The  High  Priest  urges  them  forward,  but 
they  answer  that  they  cannot  overcome 
Samson;  he  is  invincible.  Samson  bids  his 
people  arm  and  avenge  themselves.  They 
284 


SAMSON  AND  DELILAH  285 

sally  forth  and  a  messenger  reports  that 
they  are  everywhere  victorious.  As  the 
strong  man  returns,  maidens  come  forth 
from  the  temple,  led  by  Delilah,  a  Philistine 
woman.  She  praises  Samson  and  says  that 
she  can  resist  him  no  longer.  They  dance 
about  him,  and  his  eyes  follow  every  motion 
of  the  seductive  Delilah. 

ACT  II 

House  of  Delilah  in  the  Valley  of  Sorak. 
Delilah,  gorgeously  attired,  awaits  the 
coming  of  Samson.  He  is  tardy  and  she 
grows  impatient.  It  was  not  thus  when  he 
was  first  in  her  power,  but  now  he  is  seeking 
to  break  the  shackles  of  love.  While  she 
waits,  the  High  Priest  enters.  She  must  aid 
them  to  lay  hold  upon  the  warrior,  he  says; 
and  he  offers  her  wealth  if  she  will  deliver 
him  into  their  hands.  Delilah  refuses  the 
gold,  replying  that  her  hatred  is  enough. 
The  High  Priest  departs  and  sets  a  secret 
guard  about  the  house.  After  a  time  Sam- 
son appears  but  with  reluctance  and  shame. 
His  God  commands  him  to  break  off  this 
unholy  alliance  and  lead  Israel  out  of  bond- 
age. Delilah  makes  use  of  all  her  wiles  to 


286  OPERA  SYNOPSES 

bring  him  again  under  her  power,  singing 
the  bewitching  song,  "  My  heart  ope's  to 
thy  voice."  He  again  capitulates  and  she 
pleads  with  him  to  tell  her  the  secret  of  his 
strength.  He  refuses.  She  leaves  him  and 
enters  the  house.  He  hesitates  and  then 
follows  her.  The  soldiers  advance  upon  the 
house.  She  opens  the  window  and  calls  to 
them  triumphantly,  while  Samson  is  heard 
in  a  terrible  cry,  "Betrayed!" 

ACT  III 

Scene  1.  The  Prison  of  Gaza.  Samson 
has  been  shorn  of  his  long  hair,  the  secret 
of  his  strength,  his  eyes  have  been  put  out, 
and  he  is  here  seen  grinding  away  at  a  mill 
wheel.  His  captors  mock  at  him  while  from 
without  come  the  voices  of  his  countrymen 
filled  with  reproach.  Presently  he  is  seized 
and  dragged  forth  to  grace  a  triumphal 
procession. 

Scene  2.  Interior  of  the  Temple  of 
Dagon.  Before  an  amphitheatre  thronged 
with  Philistines,  the  High  Priest  worships 
before  their  god,  Dagon.  Delilah  assists 
him.  Samson  is  sent  for,  to  make  sport 
for  the  people,  and  soon  appears  led  by  a 


SAMSON  AND  DELILAH  287 

child.  A  great  shout  arises  at  sight  of  the 
helpless  man,  and  Delilah  taunts  him  with 
his  past  weaknesses.  The  High  Priest 
pours  a  libation  to  Dagon  as  being  far 
mightier  than  the  vaunted  God  of  the 
Hebrews.  Samson  prays  his  God  for  for- 
giveness and  asks  that  his  strength  may  be 
given  back,  only  for  a  moment,  in  order 
that  he  may  serve  Israel.  Then  grasping 
the  two  marble  pillars,  between  which  he 
stands,  he  bends  forward  with  all  his  might. 
The  pillars  crash  down  and  with  them  the 
temple  roof,  burying  all  beneath  them. 


THE  TALES  OF  HOFFMANN 

(Les  Contes  d'Hoffmann).  Fantastic  Opera  in  a 
Prologue,  Three  Acts  and  an  Epilogue.  Music 
by  Jacques  Offenbach.  Book  by  Jules  Barbier, 
after  three  tales  by  E.  T.  A.  Hoffmann.  First 
produced  at  the  Opera  Comique,  Paris,  Febru- 
ary, 1881. 

SCENE:    Various  parts  of  Europe. 
TIME:    The  19th  Century. 


CAST 

HOFFMANN,  a  poet  (Tenor). 

OLYMPIA    ) 

GIULIETTA  1  his  sweethearts. 

ANTONIA     (  Four  successive  parts  usually 

STELLA       j      taken  by  one  person  (Soprano). 

LINDORF 


COPPELIUS 
DAPERTUTTO 
DR.  MIRAKEL 


his  evil  genius. 
Part  taken  by  one  person 
(Baritone). 


NICKLAUSSE,  friend  of  Hoffmann  (Tenor). 
SPALANZANI,  an  Italian  savant  (Basso). 
KRESPEL,  father  of  Antonia  (Basso). 
SCHLEMIL,  admirer  of  Giulietta  (Baritone). 
ANDREAS,  servant  of  Stella  (Tenor). 
LUTHER,  an  Inn-keeper  (Baritone). 

Several  small  singing  parts,  such  as  Students, 
Servants,  Messengers,  Friends,  etc. 
289 


ARGUMENT 

"The  Tales  of  Hoffmann,"  were  derived 
from  the  fantastic  and  mystical  tales 
written  by  the  German  author  E.  T.  A. 
Hoffmann,  which  attained  a  wide  popu- 
larity in  France.  The  opera  is  really  a 
musical  medley  uniting  several  different 
episodes. 

PROLOGUE 

Luther's  Wine  Tavern  at  Nuremburg. 
The  poet  Hoffmann,  who  has  travelled 
widely  and  had  many  adventures,  is  now 
seeking  his  latest  flame,  Stella,  who  is  sing- 
ing in  a  theatre  near  by.  His  rival,  Lindorf 
(who  is  really  the  evil  genius  of  the  poet) 
plans  to  get  Hoffmann  tipsy  and  unpre- 
sentable and  then  bring  Stella  on  the  scene. 
With  Hoffmann  are  a  group  of  his  student 
friends  who  ask  him  to  relate  his  adven- 
tures. He  at  first  refuses  but  as  he  begins 
to  drink,  his  memory  is  unlocked  and  he 
tells  the  stories  of  three  love  affairs.  The 
three  succeeding  acts  each  reveal  one  of 
these  tales. 

200 


TALES  OF  HOFFMANN  291 

ACT  I 

The  Home  of  Spalanzani.  An  Italian 
savant,  Spalanzani,  is  reputed  to  have  a 
remarkable  daughter,  Olympia,  who  dances 
and  sings  divinely.  Hoffmann  and  his 
friend,  Nicklausse,  attend  the  large  coming- 
out  party.  Coppelius,  a  trickster  (the  evil 
genius  who  thwarts  the  poet  in  each  adven- 
ture) sells  Hoffmann  a  pair  of  eyeglasses  for 
the  occasion,  and  through  these  the  young 
poet  sees  a  vision  of  surpassing  beauty. 
Olympia  sings  to  the  delighted  throng,  and 
among  others  straight  to  Hoffmann's  heart. 
He  declares  his  passion  to  her  at  the  first 
opportunity  and  she  responds  although  in 
monosyllables.  She  dances,  however,  bet- 
ter than  she  talks,  and  accepts  Hoffmann 
as  a  partner.  They  dance  faster  and  faster 
until  he  can  no  longer  keep  up  with  her 
flying  feet  and  falls  exhausted.  She  flits 
from  the  room  and  a  crashing  noise  is  heard. 
Coppelius  returns  with  a  wrecked  female 
figure;  it  is  Olympia,  who  was  only  an 
automaton!  The  figure  had  been  con- 
structed by  the  savant,  aided  by  Coppelius, 
who  now  claims  that  Spalanzani  deceived 
him  as  to  payment.  They  quarrel  while 
Hoffmann  mourns  f  his  lost  love. 


292  OPERA  SYNOPSES 

ACT  II 

Giulietta's  House  in  Venice.  Hoffmann's 
next  passion  is  for  a  beautiful  Venetian 
woman,  and  he  goes  to  pay  her  court  al- 
though his  friend  tries  to  dissuade  him, 
hinting  that  she  is  not  all  she  ought  to  be. 
But  Hoffmann's  love  blinds  him  to  any 
defects  in  her  morals.  He  finds  her  sur- 
rounded by  a  gay  set,  her  favored  admirer 
being  Schlemil,  who  treats  Hoffmnan  dis- 
dainfully. Now  both  Schlemil  and  the 
woman  are  in  the  power  of  Dapertutto  (the 
evil  genius  under  another  name) .  Through 
Giulietta  the  evil  one  has  become  possessed 
of  Schlemil's  shadow  (in  other  words,  his 
soul)  and  he  plans  to  obtain  Hoffmann's  in 
the  same  manner.  The  poet  falls  a  victim 
to  her  wiles  and  is  promised  the  key  to  her 
room  if  he  will  challenge  Schlemil  who  now 
possesses  it.  He  meets  Schlemil  and  they 
fight.  The  latter  falls,  but  when  Hoffmann 
hastens  to  her  balcony  he  sees  her  gondola 
gliding  away  and  the  coquette  laughing  in 
the  embraces  of  another  man. 

ACT  III 

The  Home  of  Krespel.  The  next  love  of 
Hoffmann's  is  a  pure  one,  its  object  being 


TALES  OF  HOFFMANN  293 

the  lovely  but  delicate  daughter  of  Krespel. 
Her  mother,  who  has  been  a  famous 
singer,  has  died  prematurely  from  con- 
sumption, and  the  young  girl  inherits  both 
the  talent  and  the  physical  weakness.  For 
this  reason  her  father  does  not  wish  her  to 
sing;  but  Dr.  Mirakel  (again  the  evil 
genius)  who  has  treated  her  mother,  se- 
cretly plans  to  hasten  the  daughter's  de- 
mise. Hoffmann  knows  nothing  of  her  dis- 
ability and  urges  her  to  sing.  She  refuses. 
Then  Dr.  Mirakel  conjures  up  a  vision  of 
her  dead  mother,  who  also  seems  to  join 
in  the  request.  Antonia  yields  and  sings 
divinely,  but  the  effort  has  been  too  great 
and  she  falls  from  weakness  into  her 
lover's  arms,  where  she  expires. 

EPILOGUE 

The  Tavern,  as  in  Prologue.  The  tales 
are  ended  and  Hoffmann's  friends  have  de- 
parted one  by  one  leaving  him  alone  with 
his  bottle.  His  head  sinks  forward  upon 
his  arms  as  he  falls  asleep.  In  his  dreams 
the  Muse  of  Poesy  appears  saying,  "All 
your  earthly  loves  have  forsaken  you; 


294  OPERA  SYNOPSES 

henceforth  follow  me."  As  he  sleeps,  the 
door  softly  opens  and  Stella,  his  last  flame, 
enters  upon  the  arm  of  Lindorf.  The 
latter,  the  triumphant  evil  genius,  points  to 
the  poet  scornfully  and  leads  Stella  away. 


TANNHAUSER 


Dramatic  Opera  in  Three  Acts.  Music  by  Richard 
Wagner.  Book  by  the  Composer.  First  pro- 
duced at  the  Royal  Opera,  Dresden,  October 
20,  1845. 

SCENE:    Thuringia  and  the  Wartburg. 
TIME:    The  13th  Century. 


CAST 

HERRMANN,  Landgrave  of  Thuringia  (Basso). 
TANNHAUSER,  a  knight  (Tenor). 
WOLFRAM  VON  ESCHENBACH,  his  friend 

(Baritone). 
WALTER  VON  DER  VOGELWEIDE,  a  knight 

(Tenor). 

BITEROLP,  a  knight  (Basso). 
REIMAR  VON  ZWETER,  a  knight  (Basso). 
HEINRICH,  ascribe  (Tenor). 
ELIZABETH,  niece  of  the  Landgrave  (Soprano) 
VENUS,  goddess  of  love  (Soprano). 

Retainers,  Lords,  Ladies,  Bacchantes, 
Shepherd,  etc. 


295 


ARGUMENT 

"  Tannhauser  "  deals  with  a  legend  of  the 
Venusberg,  a  magic  grotto  in  the  moun- 
tains of  Germany.  Here  the  beautiful 
goddess  of  love  holds  court  and  beguiles 
any  mortals  who  come  her  way.  Tann- 
hauser, a  Knight  of  Song,  has  fallen  under 
her  evil  spell  and  dwelt  several  months  with 
her  in  luxury  and  dissipation.  But  the 
remembrance  of  his  former  high  station 
and  the  ties  of  earth  still  hold  him,  and 
when  the  scene  opens  he  desires  to  return 
to  the  light  of  day. 

ACT  I 

Scene  1.  The  Grotto  of  Venus.  Tann- 
hauser is  growing  weary  of  the  blandish- 
ments of  Venus  and  of  the  elaborate 
pageants  which  she  prepares  to  entertain 
him.  He  pleads  with  her  to  allow  him  to 
return  to  the  world  of  men  and  women,  but 
his  request  only  makes  her  the  more 
jealous  of  her  waning  power.  She  shows 
him  new  spectacles  of  beauty  and  luxury, 
but  he  only  insists  the  more.  Seeing  that 
296 


TANNHAUSER  297 

she  cannot  hold  him  an  unwilling  prisoner, 
she  exacts  from  him  a  promise  that  he  will 
sing  her  praises  only,  as  against  the  merits 
of  any  earthly  love.  He  gives  this  pledge 
as  a  means  of  escape,  and  the  grotto  and 
its  occupants  vanish  from  sight. 

Scene  2.  The  Valley  of  Wartburg. 
Tannhauser  finds  himself  alone  in  the 
mountains  of  the  Wartburg.  In  the  dis- 
tance a  shepherd  lad  plays  upon  his  pipe. 
By  a  mountain  path  stands  a  rude  wayside 
cross,  and  presently  a  throng  of  pilgrims  is 
heard  singing  as  they  go  on  their  mission. 
After  they  have  passed  by,  the  Landgrave 
of  the  country  and  some  of  his  nobles, 
among  them  Tannhauser's  loyal  friend, 
Wolfram  von  Eschenbach,  enter  upon  a 
hunting  expedition.  They  recognize  Tann- 
hauser and  ply  him  with  questions  regard- 
ing his  long  disappearance.  He  evades 
their  questions.  Wolfram  urges  him  to 
return  to  court,  saying  that  Elizabeth,  the 
Landgrave's  niece,  has  long  held  his 
memory  dear.  The  erring  knight  is  filled 
with  shame  at  the  thought  of  this  pure  love 
which  he  has  cast  aside,  and  promises  to 
return  with  hi  3  friends. 


298  OPERA  SYNOPSES 

ACT  II 

Hall  of  Wartburg  Castle.  All  is  in  prep- 
aration for  another  great  tourney  of  song, 
in  which  the  best  singers  of  the  realm  are  to 
contest.  The  art  of  Tannhauser  is  well 
known  and  it  is  believed  that  he  will  be  an 
easy  victor.  Before  the  assembling  of  the 
guests,  Elizabeth  enters  to  see  that  all  is  in 
readiness,  and  here  Tannhauser  finds  her 
and  learns  that  she  has  continued  to  love 
him  faithfully.  He  obtains  her  forgiveness 
and  retires  to  don  his  minstrel  robes.  The 
ladies  and  lords  assemble,  being  greeted  in 
stately  fashion  by  the  Landgrave  and  his 
niece.  Last  of  all  enter  the  minstrel 
knights.  Wolfram  sings  of  a  love  ennobling 
and  spiritual  as  the  highest  type  of  bliss. 
Tannhauser  remembers  his  unlucky  prom- 
ise to  Venus  and  answers  him  in  scorn  say- 
ing that  such  love  is  paltry  compared  with 
other  delights  which  he  might  perchance 
reveal.  Being  pressed  for  an  explanation 
by  other  angered  knights,  he  launches  into 
a  wild  song  in  praise  of  Venus.  The  court 
is  horrified.  The  ladies  leave  in  haste  and 
the  knights  press  around  the  daring  min- 
strel with  drawn  swords  ready  to  slay  him. 


TANNHAUSER  299 

Elizabeth  throws  herself  before  him  and 
pleads  for  the  unhappy  man's  life.  They 
finally  allow  him  to  go  unscathed  on  con- 
dition that  he  join  the  pilgrims,  who  now 
pass  by  on  their  journey  to  Rome,  and 
there  obtain  the  forgiveness  of  the  Pope. 
The  repentant  Tannhauser  sets  forth. 

ACT  III 

The  Valley  of  Wartburg.  Several 
months  have  passed  by  without  news  of 
Tannhauser.  Both  Elizabeth  and  Wol- 
fram await  him.  Wolfram's  friendship  is 
unselfish  as  he  himself  has  long  loved  the 
maiden  who  pines  over  the  wanderer's  de- 
parture. The  pilgrims  return  from  Rome, 
and  she  comes  to  the  wayside  cross  to  look 
for  him  among  them.  But  he  does  not 
appear,  and  broken-hearted  she  returns  to 
the  castle  and  soon  breathes  her  last. 
Wolfram  enters,  comparing  her  pure  bright 
spirit  to  the  evening  star  which  shines  upon 
him.  A  haggard  stranger  now  appears,  who 
proves  to  be  Tannhauser  returning  with- 
out the  Pope's  forgiveness.  The  latter 
refuses  to  pardon  him  until  his  pilgrim's 
staff  blossoms  with  leaves.  Tannhauser  is 


300  OPERA  SYNOPSES 

ready  to  return  to  the  haunts  of  Venus,  and 
she  now  appears  and  beckons  him.  But 
Wolfram  pleads  with  him  and  prevails  upon 
him  to  deny  her.  He  does  so,  and  the  vision 
vanishes.  Mourners  bring  forward  the 
bier  upon  which  rests  the  body  of  the 
maiden,  and  while  Tannhauser  kneels 
beside  it,  his  troubled  spirit  is  also  re- 
leased. At  this  moment,  messengers  come 
from  the  Pope,  bearing  the  pilgrim's  staff. 
A  miracle  has  happened.  The  staff  has 
put  forth  green  leaves. 


THAIS 


Romantic  Opera  in  Three  Acts.  Music  by  Jules 
Massenet.  Book  by  Louis  Gallet,  after  the 
romance  by  Anatole  France.  First  produced  at 
the  Grand  Opera,  Paris,  1894. 

SCENE  :    Upper  Egypt. 
TIME  :    Early  Christian  era. 


CAST 

ATHANAEL,  a  monk  (Baritone). 
THAIS,  a  courtesan  (Soprano). 
NICIAS,  a  wealthy  Alexandrian  (Tenor). 
PALEMON,  the  head  monk  (Basso). 
ALBINE,  an  abbess  (Mezzo-Soprano) . 
LA  CHARMEUSE,  a  dancer. 
CROBYLE,  a  slave  (Soprano). 
MYRTALE,  a  slave  (Soprano). 

Monks,  Nuns,  Citizens,  Servants, 
Dancers,  etc. 


301 


ARGUMENT 

The  theme  of  "Thais"  is  the  struggle 
between  the  lower  nature  and  the  higher; 
it  personifies  the  eternal  conflict  between 
the  beast  and  the  angel,  in  the  human  race. 

ACT  I 

Scene  1.  The  Theban  Desert.  Sur- 
rounded by  luxury  and  sin,  a  small  band  of 
Genobite  monks  dwell  in  the  desert  near 
Thebes.  Athanael,  a  young  enthusiast  of 
the  order  has  just  returned  from  a  mission 
to  Alexandria,  and  he  gives  a  gloomy 
account  of  the  vice  rampant  in  that  city. 
It  is  under  the  control  of  a  beautiful  cour- 
tesan named  Thais,  who  rules  by  the  power 
of  her  charms.  Athanael  cannot  get  the 
vision  of  her  loveliness  out  of  his  head  and 
he  thinks  it  would  be  a  great  victory  for 
the  church  if  he  could  convert  her.  Pale- 
mon,  the  head  of  the  order,  rebukes  the 
idea  as  foolish,  but  in  his  dreams,  Athanael 
witnesses  again  the  lovely  woman  posing 
before  the  populace  as  Aphrodite,  and  being 
302 


THAIS  303 

acclaimed  as  a  goddess.  He  awakes  say- 
ing that  he  must  return  on  this  mission, 
although  Palemon  and  the  other  monks 
endeavor  to  dissuade  him. 

Scene  2.  The  House  of  Nicias,  at  Alex- 
andria. Nicias,  a  wealthy  leader  of  fashion, 
is  just  now  the  favored  admirer  of  Thais, 
although  he  ruefully  admits  he  is  paying 
extravagantly  for  the  distinction.  To  his 
house,  Athanael  directs  his  steps,  and 
finally  gains  admittance  there.  When  he 
unfolds  his  plan  to  Nicias,  the  latter  laughs 
at  it,  but  good-naturedly  promises  to  aid 
him.  Thais  is  to  be  present  at  supper  that 
very  evening  and  the  young  monk  must 
make  a  good  appearance.  The  leader  of 
fashion  looks  approvingly  at  Athanael's 
fine  head  and  athletic  figure,  and  bids  his 
slave  array  the  guest  in  rich  attire.  A 
great  acclamation  is  heard  and  Thais  enters 
amid  a  throng  of  her  adorers.  The  young 
monk  alone  stands  aloof  and  she  notices 
his  attitude.  "Who  is  he?"  she  asks. 
"One  who  has  come  for  you,"  Nicias  re- 
plies jestingly.  "Bringing  love?"  she  asks 
simply;  for  to  her  love  is  all  in  all.  "Yes, 
love  that  you  know  not  of,"  answers 
Athanael  sternly,  coming  forward;  and  he 


304  OPERA  SYNOPSES 

tries  to  tell  her  of  the  higher  life.  She  can- 
not understand  him.  He  reproaches  her 
and  the  company  interfere.  Then  Thais, 
piqued,  tries  to  subdue  him  by  her  charms. 
He  retreats,  but  promises  to  come  to  her 
apartments  and  talk  further.  It  is  her 
challenge  which  he  accepts,  confident  of 
his  own  integrity. 

ACT  II 

Scene  1.  Interior  of  the  Palace  of 
Thais.  In  a  luxuriously  appointed  room 
Thais  awaits  the  coming  of  one  whom  she 
thinks  will  be  her  next  victim.  Meanwhile, 
ehe  prays  to  Aphrodite  for  a  continuance  of 
youth  and  beauty,  her  only  weapons. 
Athanael  pauses  at  the  door,  at  first  spell- 
bound by  the  vision  of  loveliness;  then  ad- 
vancing, he  tells  her  that  the  love  which  he 
offers  is  from  God  and  is  for  her  salvation. 
They  argue,  she  trying  upon  him  all  her 
coquetry,  but  he  is  able  to  resist  tempta- 
tion. This  new  type  of  man  impresses  her 
even  more  than  his  message.  The  voice  of 
Nicias  is  heard  calling  her,  and  Athanael 
departs,  saying  he  will  wait  for  her  outside 


THAIS  305 

the  palace.     She  must  follow  him  if  she 
would  find  the  new  and  higher  love. 

Scene  2.  Outside  the  Palace.  Moon- 
light floods  the  open  court,  while  through 
the  lighted  windows  come  the  sounds  of 
revelry  and  feasting.  Athanael  lies  upon 
the  stone  step.  Presently  the  door  opens 
and  Thais  emerges  bearing  a  lighted  lamp. 
She  tells  him  she  has  decided  to  leave  all 
and  follow  him.  "  Then  break  your  image 
and  set  fire  to  your  belongings,"  he  replies, 
"for  you  cannot  take  any  of  these  things 
with  you."  She  returns  within  and  obeys 
him,  reappearing  in  a  simple  garb,  bearing 
a  torch.  Meanwhile,  Nicias  and  his 
friends  come  forth  and  order  dancers  to 
entertain  them.  In  the  midst  of  the  revelry 
Thais  appears,  but  they  recognize  her 
despite  her  rough  dress,  and  try  to  detain 
her.  Nicias  diverts  the  crowd's  attention 
by  scattering  handfuls  of  gold,  and  the  two 
pilgrims  depart  while  the  palace  burns. 

ACT  III 

Scene  1.  An  Oasis  in  the  Desert.  Thaia 
is  half-dead  from  the  fatigue  of  this  unac- 
customed journey,  but  presses  on  without 


306  OPERA  SYNOPSES 

murmuring.  She  wishes  to  find  the  higher 
love.  AthanaeFs  heart  is  stirred  by  her 
sufferings  and  fortitude.  He  bids  her  rest 
beneath  the  shade  of  a  clump  of  palms  and 
brings  water  to  bathe  her  feet,  kissing 
them.  His  destination  is  a  convent  in  the 
desert,  now  near  at  hand.  The  abbess  and 
her  nuns  are  heard  singing  as  they  ap- 
proach. Athanael  commends  the  new  con- 
vert into  their  keeping  and  stands  silent 
until  they  have  gone.  Then  he  utters  a 
cry  of  anguish.  He  has  conquered,  but 
now  he  is  alone. 

Scene  2.  The  Cenobite  Monastery. 
Athanael  returns  to  the  monastery,  where 
the  monks  congratulate  him  upon  his 
success.  But  he  is  indifferent  to  their 
praise.  The  vision  of  Thais  still  haunts  his 
dreams  and  he  finds  that  he  is  miserable 
since  she  has  gone  out  of  his  life. 

Scene  3.  The  Garden  of  the  Convent. 
Thais  is  dying,  and  has  sent  for  Athanael. 
He  comes  and  the  abbess  leads  him  to  her 
cot  in  the  open  court.  The  sisters  extol 
her  saintly  life,  but  the  monk  does  not  heed. 
He  kneels  by  her  side  and  begs  her  to  come 
back  to  him.  It  is  not  the  heavenly  love 
which  fills  his  heart,  now,  but  the  earthly. 


THAIS  307 

She  opens  her  eyes  but  does  not  understand 
him;  for  visions  of  heavenly  bliss  already 
possess  her.  Deaf  to  his  entreaties,  she 
calls  upon  the  name  of  God  and  breathes 
her  last,  while  he  grovels  upon  the  ground 
in  despair. 


LA  TOSCA 


Tragic  Opera  in  Three  Acts.  Music  by  Giacomo 
Puccini.  Book  by  Illica  and  Giacosa,  after  the 
drama  by  Sardou.  First  produced  at  the  Costanzi 
Theatre,  Rome,  January,  1900;  at  London  the 
same  year;  and  at  New  York,  February  4,  1901. 

SCENE  :    Rome. 
TIME:    Circa  1800. 


CAST 

MARIO  CAVARADOSSI,  a  painter  (Tenor). 
BARON  SCARPIA,  Chief  of  Police  (Baritone). 
CESARE  ANGELOTTI,  an  escaped  prisoner 

(Basso). 

FLORIA  TOSCA,  a  singer  (Soprano). 
SPOLETTA,  a  police  officer  (Tenor). 

Churchmen,  Police,  Jailer,  Shepherd  Boy, 
Servants. 


309 


ARGUMENT 

"La  Tosca,"  founded  upon  Sardou'a 
tragedy,  is  an  intense  plot  of  passion  and 
revenge,  unrelieved  by  any  lighter  themes. 
Its  music,  brilliant  and  sombre,  closely  fits 
the  text. 

ACT  I 

Interior  of  the  Church  of  Sant' Andrea, 
Rome.  The  painter,  Mario  Cavaradossi, 
is  busily  engaged  upon  mural  decorations 
within  a  church  when  he  is  appealed  to  for 
aid  by  Gesare  Angelotti,  an  escaped  polit- 
ical prisoner.  The  painter  promises  to 
assist  him  to  escape  and  meanwhile  hides 
him  in  the  church.  Tosca,  a  singer,  and 
the  painter's  sweetheart,  comes  in  at  this 
moment  and  believes  that  she  has  dis- 
covered evidences  of  the  painter's  fickle- 
ness, especially  since  he  has  been  using 
another  woman  as  the  model  for  his  "  Mag- 
dalen." He  reassures  her.  The  sacristan 
and  choir-boys  enter,  and,  later,  Scarpia, 
the  Chief  of  Police,  in  search  of  the  fugitive. 
He  finds  a  fan  dropped  by  the  model  and 
310 


LA  TOSCA  311 

shows  it  to  Tosca  in  order  to  excite  her 
jealousy.  He  wishes  her  to  betray  her 
lover,  and  he  is  also  in  love  with  her  on  his 
own  account. 

ACT  II 

Scarpia' s  Offices  in  the  Farnese  Palace. 
Scarpia's  men  have  not  been  able  to  catch 
Angelotti,  but  still  suspecting  Cavaradossi 
they  bring  him  before  their  chief.  Scarpia 
questions  him  sharply  without  being  able 
to  obtain  any  information  and  then  re- 
mands him  to  the  torture-chamber.  He 
has  sent  for  Tosca,  who  now  appears.  'At 
first  she  is  silent  to  all  his  questions,  but 
when  he  tells  her  that  her  lover  is  being 
tortured,  and  proves  this  by  opening  the 
door  to  the  inquisition  chamber,  she  cannot 
withstand  the  strain  and  reveals  Angelotti's 
hiding-place.  The  painter  reproaches  her 
for  the  betrayal  as  he  is  taken  away  to 
prison.  Scarpia  now  tells  her  that  her  lover 
will  be  condemned  to  death  unless  she  is 
willing  to  make  a  sacrifice  to  save  him — the 
sacrifice  of  her  honor.  He,  Scarpia,  loves 
her  and  under  no  other  condition  can  the 
painter  be  saved.  Tosca  recoils  from  this 
proposition,  but  when  word  is  brought  that 


312  OPERA  SYNOPSES 


Angelotti  has  poisoned  himself  to  avoid 
recapture  she  fears  Cavaradossi  will  do  like- 
wise and  says  she  will  consent.  The  police 
officer  draws  up  a  passport  for  the  prisoner 
and  at  the  same  time  gives  orders  for  his 
execution  by  a  volley  of  musketry.  He 
carefully  explains  that  it  will  be  a  mock- 
execution,  only  blank  cartridges  being  used, 
for  the  sake  of  appearances.  He  advances 
to  Tosca  with  the  passport  and  endeavors 
to  embrace  her.  She  seizes  it  and  quickly 
stabs  him  to  the  heart.  Then  piously  com- 
posing the  body,  with  lights  at  the  head  and 
feet  and  a  crucifix  on  its  breast,  she  hastens 
away  to  the  prison. 

ACT  III 

Battlements  of  the  Prison.  The  squad 
of  soldiers  prepare  to  obey  the  order  which 
they  have  just  received  for  the  execution 
of  Cavaradossi.  He  is  led  out  to  an  open 
court  overlooking  the  battlements,  and  is 
there  overjoyed  to  find  Tosca,  who  tells 
him  of  the  passport  which  she  carries.  The 
execution  will  only  be  pretended,  she  tells 
him,  but  he  must  fall  as  though  slain.  The 
file  of  soldiers  now  take  their  position  and 


LA  TOSCA  313 


fire  their  volley.  The  prisoner  sinks  in  a 
crumpled  heap,  but  when  Tosca  rushes  to 
his  side  she  finds  that  he  is  really  dead — 
pierced  by  actual  bullets.  Tosca  cannot 
at  first  realize  the  horrible  truth,  then  gives 
way  to  despair.  The  guards  now  rush  in 
to  seize  her  for  the  murder  of  Scarpia.  She 
evades  them,  springs  to  the  battlements, 
and  throws  herself  headlong  down  to  her 
death. 


LA   TRAVIATA 


(The  Castaway).  Lyric  Opera  in  Four  Acts. 
Music  by  Giuseppe  Verdi.  Book  based  upon 
"La  Dame  Aux  Camellias"  (Camille)  by  Alexan- 
dre  Dumas,  the  younger.  First  produced  at 
Venice,  March  6,  1853. 

SCENE  :    Paris. 
TIME:    1700. 


CAST 

VIOLETTA  VALERY,  a  frivolous  woman 

(Soprano). 

FLORA  BELOIX,  of  her  set  (Soprano). 
ANNINA,  a  servant  (Contralto.) 
ALFRED  GERMONT,  a  young  Parisian  (Tenor). 
GERMONT  SENIOR,  his  father  (Baritone). 
GASTON  DE  LETORIERES,  a  Parisian  (Tenor). 
BARON  DOUPHAL,  a  Parisian  (Baritone). 
MARQUIS  D'ORBIQNY,  a  Parisian  (Baritone). 
DR.  GRENVIL,  a  physician  (Basso). 
JOSEPH,  a  servant  (Baritone). 

Members  of  the  gay  set,  Servants,  etc. 


315 


ARGUMENT 

"La  Traviata"  follows  closely  the  story 
of  "  Caraille  "  ("  La  Dame  aux  Camellias  ") 
which  tells  of  the  awakening  of  a  pure  love 
in  an  abandoned  woman's  heart.  Dumas's 
story  is  a  picture  of  modern  Parisian  life; 
but  the  Italian  libretto  harks  back  to  the 
days  of  Louis  XIV. 

ACT  I 

Banquet  Room  in  Violetta's  Paris  Man- 
sion. Violetta  Valery,  one  of  the  most 
beautiful  and  noted  of  the  Parisian  demi- 
monde, gives  a  supper  party  to  some  of 
her  set.  Her  latest  conquest,  Alfred  Ger- 
mont,  is  present,  and  finds  himself  taking 
a  strange  interest  in  this  talented  but  dis- 
solute woman.  He  questions  her  about  her 
past  life,  while  the  guests  make  merry  revel 
in  this  and  an  adjoining  ball-room.  The 
woman  who  has  dallied  with  love  all  her 
life  finds  her  better  nature  awakened  by 
his  interest  and  sympathy,  and  agrees  to 
leave  her  folly  and  devote  herself  to  him 
alone. 

316 


LA  T  RAVI  AT  A  317 

ACT  II 

A  Villa  near  Paris.  True  to  her  word, 
Violetta  retires  from  Paris  and  lives  quietly 
but  happily  with  Alfred  in  a  little  country 
place.  Their  money  is  spent  freely  and 
carelessly,  and  from  time  to  time  Annita, 
Violetta's  maid,  goes  to  Paris,  whence  she 
returns  with  fresh  funds.  Alfred  finally 
learns  from  the  girl  that  she  has  been  dis- 
posing of  all  her  mistress's  property  piece- 
meal in  order  to  run  this  establishment. 
For  the  first  time  Alfred  realizes  his  true 
position  and  rushes  off  to  the  city  to  raise 
funds  by  his  own  efforts.  While  he  is  gone 
his  father,  who  has  just  discovered  this 
retreat,  arrives  to  upbraid  Violetta  for  lead- 
ing on  his  son  in  a  spendthrift  and  dissolute 
life.  She  smiles  scornfully  at  this  charge; 
but  when  Germont  goes  on  to  say  that  it  is 
wrecking  the  young  man's  chances  and  also 
preventing  the  marriage  of  his  sister,  she 
begins  to  realize  that  perhaps  she  is  stand- 
ing in  his  way.  She  finds  that  the  noblest 
love  is  unselfish  and  self-sacrificing,  and  she 
proves  that  this  is  the  quality  of  her  love 
for  Alfred  by  promising  to  give  him  up. 
Penning  a  hasty  note  of  farewell  she  returns 


31&  OPERA  SYNOPSES 

to  her  old  life  in  the  city.  When  Alfred  re- 
turns he  pays  no  heed  to  the  note  or  to  his 
father's  explanations,  but  hastens  back  to 
the  city  with  rage  and  grief  in  his  heart. 

ACT  III 

Flora's  Apartments.  Another  scene  of 
revelry  is  at  its  height  in  the  mansion  of  one 
of  Violetta's  friends,  and  Violetta  herself 
enters  upon  the  arm  of  Baron  Douphal. 
Here  Alfred  finds  her.  He  begins  gambling 
recklessly  and  soon  wins  heavy  stakes  from 
the  Baron.  Alfred  then  upbraids  Violetta 
for  leaving  him  and  implores  her  to  return. 
She  refuses,  though  giving  no  explanation 
of  her  apparent  faithlessness,  and  Alfred  in 
anger  hurls  his  winnings  at  her  feet  calling 
them  all  to  witness  that  he  has  paid  her  in 
full.  The  Baron  interposes  and  the  two 
quarrel  and  challenge  each  other.  Alfred's 
father  now  arrives  and  chiding  his  son  for 
his  conduct  leads  him  away. 

ACT  IV 

Violetta's  Bedchamber.  Violetta  has 
long  suffered  from  throat  trouble  and  now 
sinks  rapidly.  She  pines  for  Alfred  but  will 


LA  TRAVIATA  319 

not  send  for  him.  She  learns  through  a 
letter  from  his  father  that  Alfred  and  the 
Baron  have  fought  a  duel  and  the  latter  is 
wounded.  Presently  Annita  brings  the  joy- 
ful tidings  that  Alfred  is  coming  to  visit  her. 
He  has  learned  of  her  sacrifice.  The  two 
meet  and  are  reconciled,  promising  never 
to  part  again.  But  death  has  already  laid 
hold  of  the  girl.  She  grows  weaker.  The 
doctor  returns  with  Germont  the  elder,  who 
also  realizes  her  true  spirit.  The  little 
group  stand  sorrowfully  by  her  bedside  as 
she  breathes  her  last. 


TRISTAN  AND   ISOLDE 


Tragic  Opera  in  Three  Acts,  Music  by  Richard 
Wagner.  Book  by  the  vjomposer.  First  pro- 
duced at  Munich,  June  10,  1865. 

SCENE  :     Cornwall,  Brittany,  and  the  Sea. 
TIME:    Antiquity. 


CAST 

MARK,  King  of  Cornwall  (Basso). 
ISOLDE,  his  Queen  (Soprano). 
TRISTAN,  a  knight  (Tenor). 
KURVENAL,  his  servant  (Baritone). 
MELOT,  a  knight  (Baritone). 
BRANGEANE,  Isolde's  servant  (Contralto). 
STEERSMAN  (Tenor). 
SHEPHERD  (Tenor). 

Courtiers,  Knights,  Servants. 


321 


ARGUMENT 

The  story  of  "Tristan  and  Isolde"  is 
adapted  from  a  romance  by  Gottfried  of 
Strasburg,  telling  of  the  conflict  between 
love  and  duty  in  the  hearts  of  two  lovers  of 
medieval  days. 

ACT  I 

On  Shipboard.  Tristan,  a  valiant 
knight,  has  been  involved  in  many  adven- 
tures. In  Ireland  he  has  met  the  beautiful 
Princess  Isolde,  and  incurred  her  enmity  by 
killing  Morold,  an  unworthy  knight,  who 
was  her  betrothed.  Tristan  also  was 
wounded,  and  the  maiden's  heart  softened 
toward  him  as  she  nursed  him  back  to  life. 
He  afterwards  gives  so  glowing  an  account 
of  her  charms,  that  his  royal  master,  King 
Mark  of  Cornwall,  desires  her  for  his  wife; 
and  Tristan  is  sent  to  conduct  her  to  Corn- 
wall. The  Princess  comes  most  unwillingly 
as  she  secretly  prefers  Tristan,  but  his 
lips  are  sealed  on  account  of  his  mission. 
On  shipboard  he  treats  her  with  the  most 
scrupulous  courtesy,  but  will  not  allow 
322 


TRISTAN  AND  ISOLDE  323 

himself  to  come  under  her  influence.  She 
sends  her  attendant,  Brangaene,  to  sum- 
mon him,  but  he  makes  excuses.  Angered, 
Isolde  orders  Brangaene  to  brew  a  deadly 
poison  for  Tristan,  and  when  he  finally 
appears  in  answer  to  her  repeated  requests, 
she  asks  him  to  drink  a  toast.  Tristan 
neither  knows  nor  cares  as  to  the  nature  of 
the  drink,  but  takes  it  without  protest. 
She  purposes  to  drink  also  and  thus  perish 
with  him.  But  Brangaene  has  brewed  a 
\ove  potion  instead,  and  the  two  after 
drinking,  look  into  each  other's  eyes  with 
their  mutual  passions  increased  tenfold. 

ACT  II 

The  Castle  of  King  Mark.  Tristan  des- 
pairingly completes  his  mission  and  con- 
ducts Isolde  to  the  King.  But  the  two 
lovers  plan  a  last  meeting,  and  Melot,  who 
has  pretended  to  be  Tristan's  friend, 
arranges  a  hunting  expedition,  in  order  to 
draw  the  King  and  his  retainers  from  the 
castle.  It  is  night,  and  Tristan  is  sum- 
moned by  a  torch  in  Isolde's  window. 
Brangaene  keeps  watch  from  the  tower. 
In  the  midst  of  their  bliss,  the  lovers  are 


324  OPERA  SYNOPSES 

warned  by  her  that  the  King  is  returning; 
and  Kurvenal,  Tristan's  servant,  also 
rushes  in  bidding  him  flee.  But  it  is  too 
late.  Melot  has  betrayed  his  friend,  and 
King  Mark  confronts  the  guilty  pair  in 
dignified  surprise.  Tristan  is  overwhelmed 
with  shame,  but  when  Melot  makes  a 
sneering  remark,  he  draws  his  sword.  The 
two  fight  and  Tristan  falls  wounded. 

ACT  III 

Scene  1.  A  Castle  Ruin  in  Brittany. 
The  wounded  knight  is  suffered  to  depart 
by  the  generous  King,  and  is  conveyed  by 
Kurvenal  to  a  deserted  castle  on  the  coast 
of  Brittany.  But  his  anguish  of  soul  and 
desire  for  Isolde  prevent  his  wound  from 
healing.  In  despair,  Kurvenal  sends  to 
Isolde,  who  is  also  skilled  in  drugs.  She 
answers  that  she  will  come  in  person,  and 
the  sick  man  is  buoyed  up  by  this  hope.  At 
last  her  ship  is  sighted — it  nears  the  shore— 
and  she  lands.  With  a  final  effort  Tristan 
rises  to  meet  her,  only  to  sink  down  ex- 
hausted and  die  in  her  arms. 

Scene  2.  The  Same  (usually  omitted). 
King  Mark  and  Melot  follow  Isolde.  Kur* 


TRISTAN  AND  ISOLDE  325 

venal  opposes  their  entrance  and  kills 
Melot,  himself  receiving  a  death-wound. 
The  King  learns  from  Brangaene  of  the 
love  potion  and  hopeless  passion  of  the  two 
lovers  whom  he  has  separated,  and  feels 
only  remorse  for  their  fate 


IL  TROVATORE 


(The  Troubadour.)  Romantic  Opera  in  Four  Acts. 
Music  by  Giuseppe  Verdi.  Book  by  Cammerano. 
First  produced  at  Rome,  January  19,  1853. 

SCENE:    Biscay  and  Aragon. 
TIME:    The  15th  Century. 


CAST 

COUNT  DI  LUNA  (Baritone). 
COUNTESS  LEONORA  (Soprano). 
AZUCENA,  a  gipsy  (Contralto). 
MANRICO,  the  Count's  brother,  a  wandering 

troubadour  (Tenor). 

FERRANDO,  servant  of  the  Count  (Basso). 
INEZ,  friend  of  Leonora  (Soprano). 
Ruiz,  a  gipsy  (Tenor). 

Gipsies,  Gentlemen,  Ladies,  Servants. 


327 


ARGUMENT 

"II  Trovatore"  is  the  romantic  tragedy 
of  a  high-born  child  kidnapped  by  gipsies 
— to  this  extent  a  parallel  with  "  The  Bo- 
hemian Girl."  Its  tragic  denouement, 
which  seems  forced,  does  not  detract  from 
the  brilliant  color  of  its  scenes  or  the  pleas- 
ing quality  of  its  music. 

ACT  I 

Scene  1.  The  Count's  Castle.  Count 
di  Luna,  a  powerful  nobleman,  has  lost  a 
younger  brother  at  the  hands  of  a  gipsy 
band  and  has  heard  nothing  concerning 
him  for  several  years  since  that  event.  His 
retainers  are  told  the  story  by  Ferrando, 
who  adds  that  the  woman  who  stole  the 
child  was  burned  at  the  stake,  but  that  her 
daughter  is  still  alive. 

Scene  2.  Balcony  of  the  Castle.  Leon- 
ora, an  heiress,  has  fallen  in  love  with 
Manrico,  a  handsome  troubadour,  who 
appears  nightly  under  her  window  sing- 
ing serenadee.  While  awaiting  his  appear- 
323 


IL  TROVATORE  329 

ance  one  evening,  Count  di  Luna,  also  a 
suitor,  arrives  and  she  mistakes  him  for 
the  minstrel.  The  surprise  is  general  a 
few  moments  later  when  Manrico  appears. 
The  two  men  quarrel  and  cross  swords. 
Manrico  is  wounded,  but  escapes  before  the 
Count  can  summon  his  attendants. 

ACT  II 

Scene  1.  A  Gipsy  Camp.  Manrico  is 
being  nursed  back  to  health  by  Azucena, 
his  supposed  mother.  She  confesses  to 
him  that  she  is  not  his  real  mother,  but 
refuses  to  tell  anything  more.  Ruiz, 
Manrico's  follower,  brings  word  that  Leon- 
ora, believing  him  dead,  is  about  to  take 
the  veil  in  order  to  escape  from  the  Count, 
and  that  the  latter  is  pursuing  her  with  his 
soldiers.  Manrico  dons  his  armor  and 
despite  his  weakened  condition  hurries  to 
the  rescue. 

Scene  2.  A  Convent.  It  is  the  day 
when  Leonora  is  to  take  the  veil.  Di  Luna 
is  encamped  without  to  prevent  her  from 
doing  so.  The  nuns  march  slowly  by  sing- 
ing, with  Leonora  among  them.  Di  Luna 
attempts  to  abduct  her,  but  is  in  turn 


330  OPERA  SYNOPSES 

surprised  by  Manrico  and  his  band,  who 
now  rush  in.  The  Count's  forces  are  out- 
numbered and  he  is  compelled  to  withdraw. 
Leonora  is  overjoyed  to  find  her  lover  alive 
and  renounces  the  veil  in  his  favor. 

ACT  III 

Scene  1.  The  Camp  of  Di  Luna.  The 
Count  has  captured  the  gipsy,  Azucena, 
and  is  overjoyed  to  learn  that  she  is  his 
rival's  reputed  mother.  Ferrando  charges 
her  with  having  murdered  the  Count's 
brother.  She  denies  it  stoutly,  but  will  say 
nothing  more,  and  the  Count  orders  her  to 
the  torture-chamber. 

Scene  2.  The  Convent.  Preparations  are 
forward  for  the  marriage  of  Leonora  and 
Manrico,  but  before  the  ceremony  occurs 
Ruiz  enters  with  the  tidings  that  Azucena 
is  in  the  Count's  power  and  about  to  be 
tortured.  Manrico  is  loyal  to  his  foster 
mother  and  at  once  sets  forth  to  rescue  her, 
bidding  his  tearful  bride-to-be  a  hasty  fare- 
well. 

ACT  IV 

Scene  1.  Outside  the  Prison  Tower. 
This  time  the  Count's  men  are  too  strong 


IL  TROVATORE  331 

for  Manrico  and  he  is  overpowered  and 
made  prisoner.  The  Count  condemns  him 
to  death  as  an  outlaw  and  he  is  shut  within 
the  fatal  tower.  Leonora,  on  the  outside, 
hears  the  mournful  strains  of  the  Miserere, 
or  death-chant.  She  pleads  with  the  Count, 
who  now  enters,  to  spare  the  life  of  her 
lover,  and  finally  in  desperation  offers  her- 
self to  him  for  this  boon.  The  Count 
agrees  to  sign  a  reprieve  on  these  terms, 
and  Leonora  furtively  drinks  poison  to 
avoid  becoming  his  victim. 

Scene  2.  Within  the  Prison.  Azucena 
worn  and  exhausted  lies  upon  a  pallet  in 
troubled  sleep.  Manrico  watches  over  her, 
awaiting  his  own  summons  to  the  block. 
The  door  opens  and  Leonora,  wild-eyed  and 
panting,  rushes  in  to  bid  him  save  himself. 
He  at  once  suspects  the  truth,  that  she  has 
sold  herself  for  him,  but  sees  the  whole  of 
her  sacrifice  as  she  falls  dying  from  the 
effects  of  the  poison.  The  Count  arrives 
to  find  his  triumph  short-lived,  and  in  a 
rage  orders  Manrico  at  once  to  execution. 
He  is  led  without  and  just  as  the  fatal  blow 
is  heard,  the  dying  Azucena  rises  on  one 
elbow  to  curse  Di  Luna  and  tell  him  he  has 
slain  his  own  brother. 


WILLIAM  TELL 


Romantic  Opera  in  Three  Acts.  Music  by  Gioac- 
chini  A.  Rossini.  Book  by  Hippolyte  Bis  and 
fitienne  Jouy,  after  the  drama  by  Schiller.  First 
produced  at  the  Academic,  Paris,  August  3, 1829. 

SCENE:    Switzerland. 
TIME:    The  13th  Century. 


CAST 

GESSLER,  a  tyrant  (Basso). 

RUDOLF  DE  HARRAS,  his  lieutenant  (Tenor). 

WILLIAM  TELL,  a  patriot  (Baritone). 

WALTER  FURST,  a  patriot  (Baritone). 

MELCHTHAL,  a  patriot  (Basso). 

ARNOLD,  his  son  (Tenor). 

LEUTHOLD,  a  patriot  (Tenor). 

MATHILDE,  daughter  of  Gessler  (Soprano). 

HEDWIG,  wife  of  Tell  (Mezzo-Soprano). 

JEMMY,  son  of  Tell  (Soprano). 

RUODI,  a  fisherman  (Tenor). 

Peasants,  Huntsmen,  Soldiers. 


333 


ARGUMENT 

The  opera  of  "William  Tell"  is  written 
around  the  historical,  or  legendary,  story 
of  the  Swiss  patriot  who  successfully  stirred 
up  his  countrymen  in  the  cause  of  freedom. 
The  musical  setting,  especially  the  over- 
ture, is  markedly  brilliant. 

ACT  I 

The  Shores  of  Lake  Lucerne,  in  front  of 
Tell's  House.  William  Tell,  his  wife,  and 
little  son  are  making  merry  by  the  shores 
of  Lucerne  when  their  aged  countryman, 
Melchthal,  and  his  son,  Arnold,  come  to 
greet  them.  Arnold  is  torn  between  two 
desires:  He  wishes  to  aid  Tell  and  the 
patriots  against  the  tyrant  Gessler,  but  he 
is  also  in  love  with  the  latter's  daughter, 
Mathilde,  whose  life  he  has  saved.  Tell 
pleads  with  him  to  put  his  country  first. 
Presently  Leuthold,  a  villager,  rushes  in 
imploring  assistance.  He  has  killed  a 
soldier  who  tried  to  abduct  his  daughter, 
and  he  must  flee  across  the  lake  to  escape 
his  enemies.  The  fisherman,  Ruodi,  does 
not  dare  venture  in  the  face  of  an  approach- 
334 


WILLIAM  TELL  335 

ing  storm,  but  Tell  leaps  into  the  boat  with 
Leuthold  and  rows  him  across.  The  soldiers 
appear  led  by  Rudolf  and,  in  revenge,  set 
fire  to  Tell's  and  other  cottages  and  seize 
Melchthal  as  a  hostage. 

ACT  II 

Scene  1.  A  Forest.  The  horns  of  a 
party  of  hunstmen  sound  through  the 
wood,  and  are  answered  by  a  chorus  of 
shepherds.  Arnold  meets  Mathilde  and 
declares  his  passion  for  her  and  learns  that 
she  also  loves  him.  But  Tell  and  Fiirst 
enter  at  this  moment  to  inform  Arnold  that 
the  soldiers  have  slain  his  father.  The 
young  man  bids  his  sweetheart  a  sorrowful 
farewell  and  casts  in  his  lot  with  his 
country. 

Scene  2.  The  Open  Country.  Following 
the  call  of  Tell,  Fiirst,  Arnold,  and  other 
patriots,  the  villagers  and  shepherds  assem- 
ble from  the  various  cantons.  All  take  the 
oath  of  allegiance  to  Switzerland  and  pre- 
pare to  battle  against  the  tyrant's  forces. 

ACT  III 

The  Open  Squar^  at  Altdorf.  Gessler 
has  erected  a  pole  in  the  market-place  at 


336  OPERA  SYNOPSES 

Altdorf  and  commanded  that  all  shall  bow 
before  the  cap,  placed  thereon,  as  a  recog- 
nition of  his  authority.  Tell  refuses  to  do 
so  and  is  seized  by  Rudolf.  The  tyrant  has 
heard  of  Tell's  skill  with  the  cross-bow  and 
will  release  him  only  on  condition  that  he 
give  an  exhibition  of  this  skill  by  shooting 
an  apple  off  of  his  son's  head.  Tell  does  so 
but  when  questioned  as  to  a  second  arrow 
which  is  in  his  possession  he  states  that  it 
was  intended  for  Gessler's  heart  had  the 
first  arrow  harmed  the  lad.  For  this  bold 
speech  Tell  is  still  held  prisoner,  although 
Mathilde  intercedes  for  him. 

Scene  2.  The  Shore  of  Lake  Lucerne. 
Hedwig,  Tell's  wife,  grieves  for  her  husband 
and  child  who  are  both  in  the  hands  of  the 
soldiers.  Mathilde  enters  bringing  the  boy, 
whom  she  has  aided  to  escape.  The  father 
also  soon  appears,  having  made  good  his 
own  escape.  He  lies  in  wait  for  Gessler  and 
kills  him  with  an  arrow  from  his  bow.  The 
patriot  army  is  victorious  over  the  enemy, 
and  Arnold  enters  at  the  head  of  the  joyous 
patriots.  All  unite  in  thanksgiving  and  a 
prayer  that  Switzerland  may  continue  to 
be  free. 


A     000146052     6 


